jaysanchu07 Reviews

Call Me by Your Name (2017)

Guadagnino's Brilliant & Seductive Cinematic Piece

[8/10 · 10 May 2024]

Call Me By Your Name first and foremost, succeeds in teasing & pleasing its audience through its backdrop that oozes with sensual vibes. Luca Guadagnino achieves this through a well-crafted setting that spotlights the sultry summer heat amidst the beautiful country-side location and stylish costume design & gorgeous faces all around. These are of course complimented by intellectual dialogues that feel very European, the use of that oh so sexy Italian lyrics, and praise worthy, observant camerawork that captures the picture's most intimate moments with artistry. With these, the overall atmosphere is then alluring, drawing & captivating its audience to the picture's concepts, themes and fancies to smoke a stick of cigarette.

As for its narrative, CMBYN's gay romance story, that treats the unconventional affair with sincereness rather than as taboo, was a welcome, fresh take. It soughts out to convey the emotionally-stirring fantasy of young love, complete with emotional awakening, intense infatuation and the inevitable heartbreak. It is then a coming of age that brims with honesty, unbiased and reflective of earnest desires.

On the acting piece, Timothee Chalamet was a revelation. He portrays such a magnetic presence, aided by his superb depiction of a cultured central character, muddled by his newfound yearning. From here, he renders a transformation to this submissive, starry-eyed love-bug, immensely vulnerable in his longing. Armie Hammer was just as stellar, leading a commanding presence with subtlety & discreetness, worthy of Elio's overwhelmed disposition. The supporting cast of Michael Stuhlbarg & Esther Garrel deserves praise & mention too, as their personas envelop and explains to Elio, the unfiltered dazzle of pure love.

Overall, Call Me By Your Name is simply a beautiful piece of cinema that begs to be SAVORED. There is a sense of enchantment from its imageries & poignant and deeply satisfying messages on openness and romance. It as well pristinely-acted, finely written as any, and boasts of direction that showcases Luca's unpretentious understanding of the sensuality and splendor, of young, requited love. 8/10.

Spider-Man: Homecoming (2017)

What a promising start! Spidey's back!

[7/10 · 6 May 2024]

Spiderman: Homecoming was a fantastic second reboot of the beloved web slinger, and that already is something. It is an entertainment gem, with victories from an outstanding cast, characters that boast of fresh personas, and an OG take on Peter Parker's backstory that smells like teen spirit. See what I did there?

This Jon Watts rendition of Spider-man sees Peter's struggle between adolescence angst, and becoming a friendly neighborhood superhero. In quite a shocking turn of events then, Watts and his horde of screenwriters FINALLY veers away from the usual Uncle Ben sob story and the Gwen Staci, Mary Jane overplayed romance. In place of these is a coming of age story where Peter's choices between becoming a regular high-schooler, upping social status, and craving for this heftier place in society, are spotlighted. With these themes, the overall tone is then childish, fun-loving and revved up with teen hormones, yet in amazing fashion, the narrative brims with seriousness.

Apart from its storyline, Homecoming as well home-runs with its cast and characters. Tom Holland was SUPERB as Spider-man, realistic in his portrayal of youth, optimism and unrelenting ambition. Newcomer Jacob Batalon was another welcome addition, terrific as Peter's mate and the comedic, innocent "guy in the chair". Michael Keaton as Vulture however, was the picture's most pleasing surprise, as Keaton takes advantage of the depth given to the scavenging villain, and conveys the needed humanity without fault, drawing audiences to his motivations.

Onto its imperfections, Homecoming does drag in overbearing episodes that focuses on his naivety, far too much. We understand the innocence already; so were those AI dialogues and badass time mishaps worth it?

Nevertheless, with storyline and character concepts that are honest & brand spanking fresh, and heroics that come infused with an assortment of MCU entertainment elements, Homecoming absolutely proves that WE DO need this second reboot. Could Watts & Holland give Sam Raimi & Tobey Maguire a run for their money? Let's wait for the sequels. 7.5/10.

The Big Sick (2017)

Kumail Nanjiani For President!

[7/10 · 1 May 2024]

The Big Sick is one endearing comedy-drama, that serves as an introduction to Kumail Nanjiani's chops as an entertainer-slash-movie star. I say this, as Kumail was absolutely magnetic, carrying the SUPERB humor of this picture that takes advantage of his roots in stand-up. As for the romance, it was on the same level of fascinating, thanks to Kumail & co-star Zoe Kazan's amazing chemistry and terrific dialogue, that produces the most attention-grabbing and natural fondness seen in recent years. As a screenwriter, Kumail deserves his flowers as well, as The Big Sick's narrative that touches on cross-cultural themes and conflicts, proves that 21st century rom-coms continue to have fresh ideas to explore and draw sincerity & humor from, as well as appealing, relevant messages to convey. Sure, some episodes with Ray Romano & Holly Hunter (who were both on point in their portrayals) seemed surreal & farfetched. Somehow however, these were never nuisances due to the picture's praise-worthy spontaneity.

Overall, The Big Sick is an entertainment gem, that guarantees a great time at the movies. It boasts of an outstanding cast, an original and never overbearing storyline worthy of our affection, and SERIOUS comedic punch. WATCH THIS!

Phantom Thread (2017)

A Reminder of Daniel Day Lewis' Brilliance

[7/10 · 28 April 2024]

In Phantom Thread, Paul Thomas Anderson showcases his flair for captivating personas and unconventional relationships once more. Here, his characters come drenched with well realized eccentricity and peculiarities that pushes for must-see tension.

PT's achievements stars foremost with its lead character Reynolds, who channels a passionate creator, absorbed in his artistry, but one who is uncompromising and domineering. He envelops those closest, with a toxic and commanding presence, that deviations to his preferences are slanderous and met with aggressive banters. This domestic oppression of sorts however, isn't repulsive by any means. Rather, it was an intoxicating obscenity due in large part to Daniel Day Lewis' masterful performance. The acclaimed actor disappears in his role as the seemingly warm, charming character with a knack for psychological enslavement. Vicky Kreips who dons the role of Alma, meets DDL's performance head on, accounting for the convincing affection this atypical love story boasts of and builds on. She conveys a worthy receiver of Reynolds' attention-grabbing tirades. She consumes these episodes with subtle revolts, until that jaw-dropping finale. To witness these incremental changes that sees a sense of darkness develop amidst complete devotion, was a character development that was unprecedented and riveting.

Apart from its pristine performances, Jonny Greenwood's score deserves praise. His ingestion of romantic strings and dreamy piano is not only transporting, but invokes magic and this fairytale feeling, reminding the audience that this is a beautiful romantic story made from a bygone era, in spite its misogynistic themes.

FYI. To appreciate this picture however, you've got to be at a certain level of smoked up. Its climactic scenes are bare conversations and can have you reaching for your phones, despite all attempts to resist. BUT the fact that you press rewind to ensure no scene or detail of this relationship or debacle of sorts is overlooked, is testament to its amazing feats.

Overall, Phantom Thread is a piece of cinema that is gorgeous in every sense of the word. PTA continues to deliver time and time again and we cannot wait for the next Reynolds and Alma he ought to treat us with. 7.5/10.

Ghost in the Shell (2017)

Fascinating Sci-Fi Flick, That Could've Been More

[7/10 · 28 April 2024]

Ghost in the Shell certainly has the quips of an entertaining picture, perhaps only to those unfamiliar with its OG sources. It is a visual wonder first and foremost, with SUPERB world-building that sees a reinvention of Hong Kong's concrete jungle, through holograms and fascinating futuristic pieces & eye popping costume design. This positive extends to its action sequences, where seamless visual effects adds much needed flavor that engages its audience. Where Ghost in the Shell stumbles is when the aesthetic splendor subsides and focus is shifted to its narrative. For instance, Major's struggle with her memories was given the most simplistic conclusions, leading to far from emphatic reactions to its generic revelations. The brushed over character depth was another weak point, as the picture's talking points gravitates to the same themes, casting a shadow on everyone else's motivations.

Ultimately, Ghost In The Shell feels like a generation-forward piece of science fiction, trapped within the confines of safe storytelling, as it unfortunately misses on the existential exploration of Major's identity. Nevertheless, this remains a gorgeous live-action. Rupert Sanders proves his understanding of the essence of an android-infested culture, and translates it perfectly to the big screen. 7/10.

The Babysitter (I) (2017)

2017's BIGGEST Surprise

[7/10 · 16 April 2024]

If one can get past the awkward title that gives off pornography vibes, The Babysitter can actually be 2017's biggest surprise. Yes, this picture stumbles into the usual genre tropes that sees absurd gimmicks the central character exploits, and annoying jump scares that could've been brushed over. Yet McG injects energy and a whole lot of FUN that come in most unconventional tenets for slasher pictures.

He embraces the insanity of Brian Duffield's narrative, and drenches it with unabashed attitude through adrenaline-infused score and camerawork, plus visual flavor. He as well succeeds in showcasing Duffield's well-written and realized characters that seemingly references cliched personas at first, but are elevated through realistic spiels and dialogues that spotlights endearing quirks & well placed humor. In the most surprising and amazing fashion, The Babysitter boasts of emotional depth, which was an interesting and welcome boost. Here, Cole's social struggles and his solace with Bee, was affecting, and with charming performances from Judah Lewis & Samara Weaving, everything character-related were attention-grabbers. As for the horror, McG does wonders as the gore is played to as a comedic punchline.

To appreciate this, please DO NOT come in expecting a thought-provoking piece. Rather, expect a ludicrous, over the top narrative and let yourself be consumed by McG's entertaining direction and The Babysitter's one of a kind brand of pleasure.

Gifted (2017)

A Picture Filled With Heart, & A Whole Lot of Sense

[7/10 · 15 April 2024]

With a premise we've seen before and Hallmark-movie elements that gives off tearjerker vibes, Gifted is not a piece that leaves you astounded. Nevertheless, it succeeds in showcasing a narrative that brims with heart, a not so frequent achievement considering 2017's offerings.

In Gifted, Marc Webb stamps his penchant for engaging drama, fizzling out the supposed nuisances of predictable premises. The well executed storyline pieces see to this, from Mary's classwork exploits that ushered the discovery of her genius, to the ensuing conflict over her suitable disposition, the progression of these episodes are fantastically paced and delivered with genuine details. These details were instant draws, such as the absence of cinematic defaults which includes villainous antagonists, perfect central characters, and annoying display of precocious talents. In its place are story-benefitting, competently written personas whose motivations are grounded and a breeze to go along with. Of course, the performances accentuates the superb screenwriting of Tom Flynn, through on point delivery from Chris Evans, Jenny Slater and the awe-inspiring Lindsay Duncan. Mckenna Grace deserves her own mention, as hers was a deeply captivating, breakthrough showing, with amazing co-star chemistry to boot.

Overall, Gifted is a certified charmer with its straightforward style of storytelling, well realized and remarkably acted characters and clever dialogues. 7/10.

Argylle (2024)

What Happened Matthew Vaughn? This Is The Worst!

[4/10 · 13 April 2024]

Coming in, I was pretty psyched for Matthew Vauhn's latest picture Argylle, considering his knack for entertaining, high octane action-comedies from Kickass, to the Kingsman franchise. It was then a MASSIVE disappointment, that Argylle was a dismal shade of Vaughn's previous successes. This comes from its mishmash of disengaging nuisances, starting with its convoluted narrative that feels jammed with 738 plot twists, reaching levels of hysterical. The end product is then absolutely long-drawn-out, because of its hollow attempts to be overly-smart. Apart from its unnecessary complex story, Vaughn has seemingly misplaced his touch for visual appeal, as Argylle is bogged down distracting green screen pop-ups and CGI that stick out like a sore thumb. The choreography was just as depressing, with insanely absurd stunts that sees Vaughn over-delivering, to compensate for the film's serious lack of interesting facets. Now, on a slightly positive note, Sam Rockwell accounts for the needed oomph, with his usual charm-infused portrayal, this time of a witty, suave secret agent. Unfortunately, even Rockwell's charisma fizzles out, when the role of romantic lead is demanded from out of nowhere.

Overall, Argylle's opening act that seemed a parody of the genre, feels more its central theme. It's ludicrousness, stretched out to unwatchable lengths, is a challenge to accept.

PS: The re-casting of Kingsman's winning characters, is head-scratching, as theirs are simply blank, dispensable roles. It reeks of desperation.

The Foreigner (I) (2017)

A Workable Political Drama, That Has Jackie Chan

[7/10 · 10 April 2024]

Truth be told, The Foreigner isn't anything groundbreaking. In fact, its revenge driven narrative amidst political drama is as formulaic and often times disconnected as it sounds, with the latter's convoluted beats a challenge to follow. However, this 2017 sleeper remains a solid, engrossing action-thriller, as Martin Campbell paces the storyline & stages the suspense competently. He as well captures the action sequences flawlessly, rendering its martial arts spectacle as never out of place. As for this picture's acting chops, Jackie Chan & Pierce Brosnan's committed, far from the usual performances were welcome feats. For instance, JC sheds his comical persona and conveys a tragedy-stricken character, showcasing dramatic talent that was convincing. He as well embraces his mileage, ushering grounded toe-to-toe standoffs where danger feels genuine. As for PB, he dons the political aspirant, terrorized by his travesties role without fault. He is then intense, troubled, and with meaty dialogues to boot, he steals his scenes with gusto.

Overall, The Foreigner deserves a watch. It banks on the showdown of two legends, amidst a thrilling political conflict worthy of our attention (and confusion). Seeing JC as a broken, fragile central character however, does bring a tear to my eye. Nevertheless, he remains a strong cinematic draw, even today. Long live Jackie Chan!

The Emoji Movie (2017)

NO REASON FOR THIS TO EXIST

[3/10 · 8 April 2024]

Sony Pictures Animation is fast becoming a nuisance studio, responsible for the most needless and abhorrent animated features known to man. In 2017 alone, The Star and now The Emoji Movie headlines this studio's filmography, succumbing to new levels of BOGUS per offering. TSK.

This Emoji Movie is bogged down by concepts that are absolutely pointless and even reaches levels of depressing. The universe the picture pushes for is DEJECTING, with lore that's centered around product placement over adventure, and character motivations that are excruciatingly shallow. Imagine a grand finale centered on Dropbox, consequential exploits around Candy Crush and Just Dance and character incentive to be Meh. MEH?! Also, its narrative that attempts at connecting real world drama to its fantastical beats comes off insanely weak and out of place, with coming of age messages that screams fakery. Its brand of humor is as well uninventive & bland, and with the absence of interesting characters, entertainment value isn't even this blunder's saving grace.

Overall, The Emoji Movie has NO REASON TO EXIST. We do not need gimmicks around phones as it is impossible to create a captivating universe, centered on money-grabbing platforms. With this premise, it as well a challenge to believe storylines that boasts of upsides to real world connections. BOGUS!

I, Tonya (2017)

Fantastic Work from Gillespie and His Unreliables

[8/10 · 6 April 2024]

In cast not known, Margot Robbie is one hell of an actress, and her performance in 2017's I, Tonya is evidence. As Tonya Harding, Robbie embraces with grace, her most unglamorous role and nails it to perfection. She conveys the much needed physicality, enduring hardness and charm, that when the class conscious tears her down, it is a breeze to sympathize with her narrative. The rest of the supporting cast were just as memorable, spearheaded by the foul-mouthed Allison Janey, donning the Terence Fletcher-esque persona of LaVona Golden without fault. Here, Janey conveys the necessary and affecting complexities of her character's twisted sense of upbringing. Of course, these magnetic performances ushers from Steven Rogers' emotionally resonant screenplay, that focuses on Harding's tragedies that includes being victimized by class resentment and dysfunctional, abusive relationships.

As for I, Tonya's filmmaking, it deserves praise for veering away from being a familiar sob story, as it entertains flawlessly with its snappy and jovial tone. Craig Gillespie's clever and energetic touch that exploits its unreliable narrators see to this, with its hilarious faux interviews of attention-grabbing characters, and the occasional breaking of the fourth wall. These of course, are weaved together brilliantly by Tatiana Riegel. In amazing fashion, these entertaining tenets were never over bearing to the point of diverting us, from its heavy handed themes of domestic violence and class warfare.

I, Tonya is then a result of a successful marriage between praiseworthy cinematic craft, Oscar worthy acting, and a pop-culture narrative drenched with commentaries on a whole lot of societal ugliness.

Darkest Hour (2017)

The Spectacular Gary Oldman

[7/10 · 29 March 2024]

I have nothing but admiration for Gary Oldman's masterful performance as Winston Churchill in 2017's Darkest Hour. He was unrecognizable through the prosthetics, and completely disappears into the character, as he conveys force in Joe Wright's staged intense discourses, and showcases warmth in episodes where Churchill is humanized. It is then unfortunate, that Wright's screenplay bogs down the stellar acting prowess, through out of place, artificial moments that screams Hollywood drama. For instance, Churchill's focus group discussion during his commute was an off-putting embellishment, that disengages its audience from its supposed climactic final act. Also, Lily James' character and her scenes seemed cinematic add ons for the sake of unneeded weepy drama.

Overall, Darkest Hour is survived by Gary Oldman's Oscar winning performance; a feat that brings the character that is Winston Churchill to life, even when Wright's narrative crashes down. If only his camerawork and script shared the same level of flair, this picture could've transcended being good enough.

Alien: Covenant (2017)

Satisfying, But Could've Been Better

[7/10 · 24 March 2024]

As the credits roll, there is a sense of satisfaction with Alien: Covenant's offerings, that deems this picture a worthy prequel to the renowned Alien franchise. However, this latest entry is undoubtedly dwarfed by its 2012 predecessor, as it succumbs to typical nuisances Prometheus steered clear of.

Of course, Covenant's success starts from Ridley Scott's unparalleled visual flavor, that entices its audience to its interplanetary adventure, and horror. Scott's vision of everything space was picturesque and absolutely gorgeous. His masterful visual effects on the other hand, produced harrowing standoffs against Scott's wretched life-forms, with its hyper-real renders. Great soundtrack too, that pays respects to its originals. As for its narrative, Covenant's storyline progression from Prometheus and approach towards Aliens, though incremental, remains captivating through David's motives. Happily, this once in a blue moon, riveting antagonist is portrayed flawlessly by the genuinely-striking and terror-inducing Michael Fassbender.

As for its shortcomings, Covenant is hampered down by a serious lack of interesting characters, which is a far cry from Prometheus. It was an annoyance as well, that these disposable supporting cast followed the cliched, horror movie route of idiotic decisions left and right, leading to their MOST obvious demise.

Overall, Alien: Covenant deserves praise for its superb continuation of Prometheus' thrilling narrative & technical brilliance. Its imperfections only become apparent, when it transitions to the Aliens tone of horror.

You Were Never Really Here (2017)

Ramsey & Phoenix, A Match Made in Filmmaking Heaven

[7/10 · 21 March 2024]

Lynne Ramsay needs to be appreciated more. The esteemed filmmaker behind We Need To Talk About Kevin, once again delivers her brand of uncompromising cinema. In You Were Never Really Here, Ramsey conveys a character portrait drenched with inner torment, one that navigates around a backdrop of crime and violence. In amazing fashion, Ramsey weaves between the trauma & her narrative seamlessly, exploiting the former as a riveting character construct. She captures her protagonist's brokenness with modesty and craft, incremental in approach & patterns the unraveling intensity of her storyline. Also, Ramsey's ingenuity as a filmmaker extends to how this picture projects violence. Here, the savagery is spared from the limelight in seemingly poetic ways. However, a sense of gross inhumanity seeps through from her chosen imagery and facets, such as the sound design.

On the acting piece, Joaquin Phoenix's committed portrayal of Joe, was remarkable. Phoenix evokes this damaged anti-hero or escapist of sorts, rendering Ramsay's persona-focused appeal, as captivating as it is unsettling.

You Were Never Really Here is a product of filmmaking ownage. It defines Ramsay's artistry for psychological thrillers, that renders her filmography as a guaranteed watch-out for aficionados of disturbed, tension-filled subjects.

In the Fade (2017)

We Demand More Diane Kruger Lead Roles!

[7/10 · 18 March 2024]

In The Fade is Diane Kruger's tour de force, as she puts forth a jaw dropping, masterful performance, worthy of its accolades. Here, Kruger portrays devastation and intensity without any sense of overplaying. Her experience of tragedy is authenticated by sheer acting prowess, as she defines her gut-wrenching ordeal with well- portrayed confusion, shock and eventual despair. She dominates her scenes as she captivates with each and every reaction, to nuisances Fatih Aki confronts her with. Speaking of, the political notes in Aki's narrative is another positive, as his fictionalized backdrop was emotionally stirring.

Where the picture stumbles is in the second act, that featured a court drama whose failure to deliver justice was angering not only because of its turnout, but in its staged incompetence & strangely written players. Head scratching.

Overall, In The Fade remains more than a revenge picture, with its aspirations to showcase an affecting character story, that delves into contemporary issues & extreme dispositions to the unthinkable. Diane Kruger needs to don MORE lead roles!

Brawl in Cell Block 99 (2017)

Pleasurable Violence, From Vince Vaughn?!

[7/10 · 14 March 2024]

70s grindhouse is back with a vengeance! Brawl in Cell Block 99 is a welcome, modern take on this always entertaining genre, as it relishes on its tenets without apologies, and it was GLORIOUS to witness. Its strongest feat for example, is its salivating violence that comes devoid of fantastical, contemporary choreography. In its place is a gut wrenching brand of street level mano-a-mano, complemented by well intentioned use of practical effects that spotlights its brutality. As for its backdrops, S Craig Zahler masterfully stages the grime and horrors of prison existence, immersing his audience to Bradley Thomas' harrowing ordeal. Zahler's drama is as well praise worthy, as he establishes his characters with utmost care, through screenplay that surprises with authenticity, and unobvious exploits. With Vince Vaughn's stellar performance as the sympathetic brute, Bradley's narrative comes as one satisfying rationale, for its gross & sensational violence.

Overall, Brawl in Cell Block 99 is sincere and vicious in all the right ways. It boasts of purposeful tenets that renders this picture, more than its hyper-stylized bone shattering.

Anyone But You (2023)

Sydney's Bosoms Can't Save This Hot Mess

[5/10 · 10 March 2024]

Anyone But You sucks for reasons you probably would not expect. Yes, it follows the formulaic approach that features gorgeous couples & insanely campy storylines reminiscent of 2000s rom-coms. What drags this throwback however, is its atrocious screenwriting and amateur-level editing that produces charm-fizzling gimmicks and cringe-worthy episodes. For instance, its character feats are purely aesthetic, as each on screen face is devoid of interesting backstories & personalities. Its comedic sequences are bland AF, either because these play out in absurd lengths, are repetitive without remorse, or the stints don't bode well for its characters, not known for goofball humor. It reaches levels of needlessly smutty as well, with its showcase of bosoms and penises in random, awkward fashion. Its dialogues are unexciting & its sequences & elements such as its score, are weaved together im the most obviously disjointed & off-putting manner possible.

At the end of the day, the undesirables of Anyone But You renders this romantic comedy, a failed comeback of sorts. It is ridiculously shallow, and its lack of substance is impossible to be redeemed by half naked nobodies and Sydney Sweeney juggernauts, and that's saying a lot. Anything But This.

A Fantastic Woman (2017)

A Tough Watch, But Its Messages Resound

[7/10 · 7 March 2024]

A Fantastic Woman discomforts, as it portrays the insurmountable ordeal faced by Daniela Vega's Marina Vidal, whose tragedy ushers episodes where she is consistently shunned & mistreated for being a trans-woman. Sebastián Lelio conveys these harsh messages with subtlety, as he veers away from over the top and weepy embellishments. In its place is a backdrop that sees Marina in constant suspicion and deprivation, where she is never regarded with normalcy and worst, a backdrop that refuses to acknowledge her identity. This isn't the usual sob story however, as A Fantastic Woman showcases Marina's defiance amidst the prejudices. Lelio conveys this with the same tenderness, through Marina's persistence on her identity and desire to express her grief and love. Lelio treats us further, with motifs that resemble Marina's affecting resistance, and craft that sees cinematic genres, from mystery to musicals, elevate its already resounding story.

Overall, A Fantastic Woman is one powerful piece of cinema, with timely, thought-provoking themes. Here, Daniela Vega & Sebastián Lelio shares a deeply personal narrative, that comments on the struggle against societal tendencies on nonconformity. It is as well wonderfully acted, with gazing imageries to boot.

John Wick: Chapter 2 (2017)

Refined Chaos, At Its Finest.

[7/10 · 2 March 2024]

With its exhilarating brand of toe-to-toe action & expanded lore that never ceases to peak interest, John Wick Chapter 2 is a bona fide entertainment gem, cementing John Wick as a must see franchise.

This second chapter in the Boogeyman spectacle, builds upon its predecessor through its action extravaganza & storyline that features new underground, criminal world gimmicks. The former alone renders this picture worthy, through improved choreography and eye popping backdrops that adds bonus points in style. Happily, Chadel Stahelski & screenwriter Derek Kolstad treats us further, through novel discoveries around the dark, polished society of gangsters & assassins the 2014 original touched on. Here, underworld concepts, governing rules & codes amongst un-gentlemen, reveal rich, investing tenets of the John Wick universe that boasts of mystery, intrigue and refined chaos.

As for this picture's weak points, its storyline was a step down from its predecessor, as it bids farewell from its intimate & sincere character motivations. This sequel as well features decorative antagonists, such as Ruby Rose & Common's personas, whose quirks & angst were mere facades to their underwhelming showdowns.

Overall, John Wick Chapter 2's offerings of gobsmacking action & lore, guarantees an entertaining time at the movies. Sit back, relax, and enjoy Keanu's ass-kicking, violence porn.

The Star (2017)

I Pity The Youth Whose Version of the Nativity Story, Is This

[4/10 · 28 February 2024]

Dang, Sony has a knack of pushing unwanted mediums down our throats, no? 2017's The Star is another unfortunate mess that misses WIDE left in terms of entertainment feats, despite its outstanding voice cast. Its cringe worthy script sees to this, with its off putting sequences & miserable attempts to be humorous through poorly executed, re-hashed jokes. Its target audience is then question mark, as it zeroes on visual charm, misfires on comedic offerings & lacks engaging messages intended to keep things interesting. It simply banks on an overly familiar adventure story that features critters singing & twerking, which seemingly has NO PLACE in its brushed aside nativity story. The result is then one head scratching, generic picture.

In case not clear, The Star is a mishmash of shortcomings that lands on one repulsive product guaranteed to earn jeers, even in class viewing sessions. Sony, please stop this madness!

A Prayer Before Dawn (2017)

Impressive Work from Sauvaire, Cole and Muay Thai

[7/10 · 27 February 2024]

A Prayer Before Dawn defines what an experiential piece of cinema is. Its narrative is nothing groundbreaking & there is very little dialogue & expositions however, Jean-Stephane Sauvaire conveys the horrors of Thai prison culture masterfully. Sauvaire's flair for authenticity paves the way, through settings, characters, and filmmaking pieces such as the absence of translations & well staged prison drama & chaos. The sense of realism from these feats captivates, as we are placed right smack in the middle of the grime and intensity that becomes Billy's backdrop of perpetual struggle. Joe Cole's performance furthers the picture's genuine appeal, through impressive portrayal of brokenness & madness, that ushers an engrossing odyssey for redemption.

Overall, A Prayer Before Dawn is an impeccable piece of storytelling, that succeeds in immersing its audience to Billy's punishing ordeal through unembellished screenplay & genuine lore. The viewing experience is then far from comfortable, but offers enticing rewards. Did i mention that the Muay Thai sequences were topnotch too?

Revenge (II) (2017)

Nothing Really New To See Here Folks

[5/10 · 20 February 2024]

The published reviews of 2017's Revenge, calling it a fresh, feminist take on rape and revenge tropes is quite a stretch. In terms of visual appeal, it does distance itself through its crisp, high contrast & intriguing imageries & exemplary camerawork. In terms of its tenets however, it adheres to the exhausting tropes of the genre & conforms to the female societal roles feminism supposedly challenges. For instance, Jen's baseless morph from damsel in distress to hardened action hero, secures the ideal "woman on top" idea. However, the unfathomable process disengages, rendering a forgettable, imaginative victory. Meanwhile, the picture's objectification of Jen as one nicely assed seductress, with provoking costumes to boot is another glaring irony of its messages.

Apart from its incoherent themes & inconceivable fantasies, Coralie Fargeat's fixation on graphic imagery was off-putting. The brutality & gore was a welcome & pleasing take however, Fargeat takes the over-the-top approach, rendering sequences needlessly repulsive & horrifying, considering the picture's serious narrative.

As the credits roll then, there is a sense that Revenge's offerings is ALMOST amusing. Its revenge plot follows the tried and tested formula that comes with exaggerated heroics that pushes away audiences unable to suspend disbelief. There is hope however, as its interesting imageries is enough to be excited for Fargeat's future work.

Beauty and the Beast (I) (2017)

Disney's BEST Live Action Adaptation To Date

[8/10 · 19 February 2024]

Its 2024, and Disney's 2017 live-action remake of Beauty & the Beast, remains its crowing achievement. Here, the studio FINALLY veered away from the unnecessary gimmicks & delivered the good ol magic its originals are celebrated for. It follows its animated predecessor to the T, paving the way for the timeless story of Belle & the Beast to pull at its audience's heartstrings, with bonus emotional heft from its realistic adaptation. The musical numbers was as well impressive to the nth degree, as they come choreographed to perfection, while honoring its source material through carried over tidbits that have OG fans cheering on. There was as well no shortage of entertainment & visual delight, as its well loved & wonderfully voiced characters are honored without fault, and its backdrops were a thing of beauty through on point production & overall design. On the topic of characters, much deserved praise and applause for Luke Evan's Gaston & Josh Gad's Le Fou. The duo's performances carry the fairy tale's comedic punch, while Evans dons the conniving persona of the famed antagonist with appealing & addictive gusto. He was perfect as Gaston.

As for this picture's weaknesses, it was unfortunate that Emma Watson's performance comes riddled with her over the top, cinematic method-acting. Though she is Belle through and through, this was an annoyance not possible to dismiss. Dan Stevens as the re-animated Beast was another misfire, as his emergence comes off anti-climactic, weirdly acted & ultimately head scratching. Its new songs aka needless additions, were as well forgettable, and dampened the narrative at every opportunity.

Overall however, this fresh rendition of The Beauty and the Beast sees Disney FINALLY achieve the re-making of past fantasies, capable of enchanting audiences young and not so young. It guides us as we rediscover the inspiring magic of the 1991 fairy tale, made more emotionally stirring with present day filmmaking craft. It is then, definitely worth the tear or two, just ask my absolutely well pleased wife.

First Reformed (2017)

A Worthy, Modern Day Taxi Driver

[7/10 · 4 February 2024]

If theres one feat Paul Schrader's First Reformed succeeds in, it is in its portrayal of absolute torment. In this 2017 sleeper, Ethan Hawke is Pastor Ernst Toller, whose tragic backdrop & envelopment by worldly concerns spearheads an extreme crisis of faith. Schrader delivers impressive work here, through direction & screenplay that is headlined by fantastic narration, capturing the searing details that elaborates Toller's onset of spiritual struggle, & downward spiral born from his obsession over relevant issues. Schrader then veers away from ridiculous ideologies & theological jargons as reasons for Toller's personal challenges, and the result is nothing short of affecting. Hawke's performance as well deserves note, as he dons the necessary brokenness & subtle viciousness Scharder's characters are famous for, a compelling Travis Bickle rendition of sorts.

As the credits roll, Schrader's perfectly acted tale centered on existential woe then resounds. First Reformed sees the esteemed screenwriter in his comfort zone with thought provoking themes, told through a personal story drenched with staggering cruelties. Not everyone's cup of tea I imagine. 7/10.

Kong: Skull Island (2017)

A GINORMOUS Popcorn Movie

[7/10 · 27 January 2024]

If uncaged blood matches between badass freaks of nature tickle your fancy, then Kong: Skull Island comes recommended. This second entry to the Monster-verse franchise satiates our craving for roaring action, through technical achievements and fast paced storytelling. For instance, its impressive camerawork & sound design ushers well staged chaos, capturing Kong's destructive power through crisp, captivating effects. With these, the action sequences then packs a punch, worthy of Kong's perceived supremacy. The CGI deserves its accolades & its own mention, as Skull Island's horrors are given hyper-real renders, sweetening the violence with visually convincing appeal. As for its screenplay, its approach that veers away from reliving past adaptation's annoyances was a welcome treat, shedding the overused ape & lass love story, in favor of plot pieces that elaborates Kong's significance & tragedy as protector of Skull island.

Where the film stagnates is when focus is redirected from the monstrosities. Here, the mediocrity of this picture's ensemble cast stands out, with its hollow, one dimensional characters & script that misfires with unnatural one liners & failed humor. Thank goodness then for Samuel L Jackson & John C Reilly, as their characters account for the compelling madness that rivals Kong's menace, and well placed levity that offers respite from the craziness.

Kong: Skull Island is then a certified popcorn movie. It solely scores points through exhilarating sequences that features Kong, rampaging against expendable characters & over sized creeps. Its scenes that feature character drama and intended comedy are then skippable nuisances, offering small-scale relevance. Half butter, half cheese please!