5/7/2017 - Guardians of the Galaxy Vol. 2 (2017) - 6-/10

This was a fun film, much like its predecessor. Unfortunately, it could not reach the level of the first. It was juvenile and lacking subtlety, yet still endearing enough to care for and pack some semblance of emotional heft. It lays everything on extremely thick, be it sight gag, dick joke, thematic marker, or engaging emotion - it is all played to the lowest common denominator loudly to the back of the theater. None of this derailed the film mind you. Little dancing Groot was still cute, the father/son heart strings were still pulled, and the calling card mix of 70's crowd-pleasing music entwined with slick sci-fi action still clicked. It all just felt like an amped up rehash, missing the unique magic that the original film bathed in.

There were plenty of logic flaws (Rooker's Yondu has the most dangerous weapon in the galaxy or the introduction/cessation of Peter's "god magic", just for examples) and unnecessary set-up (not even the most hardcore comic lovers are clamoring for the original/GOTG 3000 Stallone spin-off film that was set up here, I would wager). These seemed like over extensions/studio dictates and plot convenience. Could just be that everything is under more scrutiny the 2nd time because expectations will always be different. Or maybe the unfortunate elements just bugged me more this time around than the first one.

Everyone except for the director's brother does a solid-t-good job with the roles and elements they are given. Much of the rest was by-the-numbers but workable. Again, this was a solidly fun and well-done film, just stretched thin and over emphasized. 

3/3/2017 - Gantz:O (2016) - 4/10

Watchable and surprisingly less sexy/fan-servicey than the manga, but they are equally light on real juicy plot/substance. It also doesn't help that its biggest draw (the cgi animation) is hit and miss. At times, it looked quite adept. But at other times, it looked disjointed and eye-rollingly unrealistic.

You get the expected crazy guns, inventive kami monsters, and jiggly leather clad breasts, but little else. The action is only so-so, despite being much more accomplished than its forebears (something like Final Fantasy). There is a fun element here and some nice animation, but this is a lacking overall product, especially if you were looking for any kind of fully formed film.

3/3/2017 - John Wick: Chapter 2 (2017) - 5/10

The sequel we did not need did mostly what it did last time: deliver solid no frill action, smartly lined with an intriguing undercurrent of world building flavor. Unfortunately, we got a bit too much of the same and too little of the magic. We saw more of the world, which was interesting but it grew a bit tone deaf. The further we went into this underbelly, the more ridiculous it got. The action was tight, focused, and intense. But as it went on and on, the already stripped downess grew threadbare and monotonous. It was hard to tell if the shortcomings and piling-ons were purposeful jabs at the genre or silly & uninteresting flubs in the story/film series.

Chapter 2 is satisfying and both does & doesn't try for too much. That is its biggest problem. The slimness of the frame just doesn't allow for more weight to be put upon it. They tried to throw some on, but it was fat (excessive scene chewing by Stormare and Fishburne) & gristle (silly, plaid out and cliche story bits like a big stand-off in a mirror room), not useful muscle. I grew weary by the end.

JW2 is the dichotomy between too much and too little. There is enough there for fun, but it is not quite fulfilling.

Side note: little Gary Stuish this round.

3/1/2017 - EDGE OF SEVENTEEN (2016) -6+/10

"Sound of silver talks to me. Makes me want to feel like a teenager. Until you remember the feelings of a real life emotional teenager. Then you think again..." Upon watching Edge, it felt as if LCD Soundsystem were whispering in my ear. This teen "comedy" provided an instinctual and biting peak into teen life. Sure, it had some Sorkin/Diablo Cody-esque forked tongue dialogue, but the isolation, the uncouth dynamism of emotions, and the distinct lack of forethought, empathy, and indecipherable uncertainty truly nail the "worlds ending" finality of teendom. 

Steinfeld hooked us while constantly retaining a disdain in herself & actions. Fine character work from her. Her brother was strong but not overdone. Harelson was a funny Obi-Wan, playing magnificently off Steibfeld's marose attitude. 

A little too "all's well" at the end, not to a "She's All That" kind of level, but a slight bit more retention of an undefeated struggle might have satisfied me more (this is a minor gripe. I wanted a satisfying arrival, not a Von Trier denouement). This was a lived in but cinematic exploration of teen experience, this one in particular, that was smart and funny but feeling. A welcome addition to this genre and a smooth debut from writer/director. 

2/27/2017 - Girl With All The Gifts (2017) - 5+/10

Solid and unencumbered, but distinctly comfortable housed under its glass ceiling. It does a fine job of telling a "Last of Us" inspired zombie tale that moves well, stays gripping enough, and adds a few new ounces of nuance. But, that said, characters are fairly undeveloped and the story, though entertaining, didn't really have a whole lot new to say.

It is passable and average, hinting at higher quality and uniqueness, but never solidifying much to make it feel all that special. Brisk and enjoyable, but nothing much you haven’t seen before.

2/26/2017 - Toni Erdmann (2016) – 7+/8-/10

Its Germanness is strong, with its existential ennui and its quirky repressed humor. The balance of lingering dourness and anxieties sweetened the legitimately weird and unique laughs. An intoxicating cocktail of problematic estranged father/daughter relationship with stomach constricting social awkwardness, Erdmann is so effective and engaging. Despite being a bit long, the runtime isn’t laborious. The story and its eccentric players keep you guessing and waiting for the shoes you didn’t know you had to drop. That nude scene is envigorating, impetuous, and archetypal agog comedy.

I would certainly recommend this absurdist dramedy with a singular vision. Well done and satisfying film.

2/23/2017 - The Salesman (2016) – 7+/10

This may be the highest rating I have ever given to a film that made me question whether I liked it or not. The subject matter and how the characters dealt with it was challenging for me as I screamed inside for action, intensity, and truth. My cries may have fallen fell on deaf ears, or perhaps I was just not interpreting the responses properly. Action - intent and subtlety. Intensity - intricate metaphor and deep bubbling emotional trauma. Truth - alien cultural insights and relational ennui of devastating force.

I wrestled in my seat with this film during and after, but I could feel its path inside me as it wormed its way to my core. I truly felt this film, as my discomfort and strife has lingered and bewitched me. It is a finely tuned script that was well acted. The camera is not flashy, using the intricacies of the smartly plotted scenes, confident pacing and labyrinthine nigh-non verbal characters/communions to carry that weight.

It is a masterfully formed film. Each scene, line, interaction seems to have such heft and significance. The story builds like a constrictor creeping up its victims body, coyly wrapping itself around them, and squeezing out their life breath. It is savage and visceral without the bombast or the decoration. It’s just a feat of storytelling on camera.

2/23/2017 - 13 Hours (2016) – 4+/5-/10

Surprisingly not awful. In fact, I enjoyed most of the film WAY more than I expected to. There is too much slow motion, humorous "tension killers", and its length is over powering. Despite some of these standard flaws, it is light on the over indulgent Bay and the tension/action is shot very well. It’s averageness, with peaks and valleys kept to a minimum, caught me off guard and I was pleased the overall viewing experience.

One shot I liked: the grief of the mothers, wives and sons expressed for the Isis fighters after their failures in the raid. Unexpected in this “less-than-subtle/complex” pro-American war film.

2/22/2017 - Get Out (2017) – 4+/10

I sat here writing stuff while waiting for something genuine, heartfelt and profound to come to me about my opinions on this film. Much like my experience with the movie itself, I ended up just sitting here and feeling nothing. The film is not poorly made, improperly executed or without merit & thought. I appreciated the concept, the frank and (intended) entertaining examination of the gulf in racial experiences/stories, and the tilt on the genre. The psychological slave metaphor was especially clever and effective. Overall though, it simply did not activate for me on any key elemental level. I felt very little throughout, without any frights, no laughs, and a lack of real tension.

Judging by the other theater occupants during my screening (and critical response), I am in the minority. Despite their claps, cheers, laughs, and frights, I was unmoved throughout. It’s not that I didn’t find it serviceable or artistic, I just did not click for me and I did not enjoy the movie on the whole. It may be my own personal lackings, my theater experience, or maybe I am just wrong, but I did not dig on this picture. I found it interesting as a thoughtpiece, but I knew most of what was going to happen, never felt truly drawn in, and the film for me never grew much off the page. I could discuss the social message and its resonance within this film, which I applaud overall, but I don’t feel like it. I just don’t care enough.

For me, this film just wasn’t special. I don’t think it reinvented the wheel or exploded off of the screen in any distinct way. It was fine to sub-par. I hope you guys like it. This isn’t the first film that I won’t think is “amazing”, and nor will this be the last. There were Oscar noms and critical darlings that I just don’t think passed muster. Apparently, this will join their ranks. So be it.

2/18/2017 - Silence (2016) – 6+/10

Should be agonizing and crushing, but there were so many passable lulls and lack of identification with the characters that left me wanting. I understood their persons, their passions, and their plight, but never did I truly feel for & with them. The film’s look was luxurious and fruitful, brilliantly highlighting the majesty of the natural world (in sight, sound, and cosmological significance) in Japan. The design and dimensionality of the set/location and period elements was so strong. Unfortunately, the story left me wanting.

I cannot hate on the actors. They seemed to devote themselves to the roles, but I wasn’t as into the casting. Something about Garfield and Driver felt “off” the whole time. Perhaps it was just the roles they were given and story trying to be told. It was an inculcation of Christianity’s “Via Dolorosa” in Japan, the tribulations and miseries of both the priests and their parishioners, but I wanted more than the “whip & thorns”. I appreciated story’s aim, but grew weary of its methods and predominant myopia. I might not have felt such a lacking if the characters drew me in more.

To a certain audience, looking at the history and an examination of their transformative faith, this will be a film of unending dialogue and deeply sincere truths. For me, it was an appreciable beauty that left me somewhat apathetic in the end. An undeniably good and finely fashioned film that I just didn’t truly care about.

2/18/2017 - Nocturnal Animals (2016) - 7/10

I sincerely enjoyed and was extremely into most of it, but the end left me… haunted and grasping. The whole film is dark and gripping, like a dusty hand of an escaped convict grasping your ankles from the inky blackness. Metaphor and allusion drape themselves like an endangered fur shawl across the breadth of the feature. That is generally thought provoking, but sometimes it was a touch too in your face.
That acting was top notch from everyone here, infusing verve and profundity behind the eyes of each tortured character. Ford highlighted and fixated upon the bleak malaise of twilight, within the cinematography & staging of each scene, the turmoil of each player, and the bleak unknown of it all. This was all a savory elixir to me that kept my heart pumping, but it did leave an acrid aftertaste.
I was inherently torn. There is a low-Lynchian befuddlement at play within the motivations of the characters and the editorial construction of the cinematic narrative. Questions of precision in regards to reality and drive were risen, but left pending. The cold and hollow ending felt justified but the ambiguity left me drifting. I didn’t dislike it, just felt not truly necessary, unlike other more entrenched film mysteries.
Sensual, but devastating in its encroaching dread. This is a sleek and taught semi-thriller, filled with delectable vision and a caustically gloomy sheathe. Lacking some final details to blast it into the stratosphere, but I thought it was well made and well enjoyable overall.

2/16/2017 - Oscar Live Action Shorts

My Pick: Sing

Oscar Winner: Sing

Mindenki (Sing) (2016) - 7+/10 - A special little fully realized parable, full of emotion, fun, intrigue, and terrific storytelling. The acting, direction, and script are on point and applause worthy.

La femme et la TGV (2016) - 7-/10 - Charming with delightful skill and detail in its tremendous cinematic execution. Varied emotional resonance, gratuitous grins, and exemplary shot blocking & cinematography. A delightful little tale.

Ennemis Interieurs (2016) - 6+/10 - Great lighting with outstanding depth of acting, vision, story, and camera work let this film pop with drama and intensity. This is a film that can be appreciated and felt, especially with its poignancy of current state of affairs.

imecode (2016) - 5+/10 - Definitely fun, though a little bit measured. Smiles are easy, but devoid of much past those few minutes on screen.

Silent Nights (2016) - 5-/10 - Fine and enjoyable, it just felt a tad light and hollow. Half of the main acting was only so-so and the totality of the story left me wanting.

2/14/2017 - Jackie (2016) – 5+/10

Smartly put together with style and panache, but with a languid stuffiness and slothful pace, the total felt dutifully disagreeable. I recognize the quality but just did not really care for it.
The score was haunting and coarse as Mica Levi’s work brought such intensity. The sound kept things cryptic and on edge. Larrain also broke from the standards of many biopics, delivering a film stylistically different and auteur. It generally looked and felt unique, exuding deference and delicacy in the tight framing and deliberateness of it all.

Despite being uncommon, so much of it appeared tailored and mannered, in appearance and performance. A constrictive story about a cloistered clique, I just felt so unengaged and cold. Portman was “good”, but just seemed to have too many “affectations”. I don’t have a solid point of reference with Mrs. Kennedy/Onasis, but I got the sense of an air of the woman, rather than a full blooded embodiment. That might have a lot to do with the particular story being told along with her performance.

A quality production, but it never-the-less felt boring. During my viewing, it seemed monotonous and unending, which are never great feelings to experience during a movie going enterprise. I did not hate it, and even respect it for much of what it did, I just didn’t really like it. Blah.

2/13/2017 - Oscar Documentary Shorts

My Pick: White Helmets

Oscar Winner: White Helmets

The White Helmets (2016) – 8-/10 – Profound. Vivid. Gripping and real. Instills hope in the face of slaughter and destruction. An amazing piece with true heroes.

Watani: My Homeland (2016) - 7/10 - Touching, personal, and in depth. Giving a human and approachable face to Syrian refugees and their involved lives. The idiosyncratic injections of humor and harrow truly brought it to life.

Joe's Violin (2016) - 7/10 - Tender with a thoughtful whimsy. Well told and dusty, though slender in its ambition.

4.1 Miles (2016) - 6+/10 - Impactful and grounded, intensely exposing one view of a refugee crisis. Heartfelt but could have been a more fully rounded & realized vision.

Extremis (2016) - 6/10 - Hard to the watch as we see the excruciating end of life decisions. Good, but only just.

2/11/2017 - 2017 Oscar Animated Shorts

My Pick: Pearl

Oscar Winner: Piper

Pearl (2016) – 7/10 – Perhaps a little retro/stylized for some people’s taste, but so full of heart and delightful story. Terrific little familial tale with a touching musical accompaniment.

Piper (2016) – 7/10 – Will probably win the Oscar. Cute. So. Terribly. Cute. The animation is refined and high quality. I think the story might be little too syrupy and fluff, but its enjoyment can’t be denied.

Pear Cider and Cigarettes (2016) – 7-/10 – I found the story quite engaging and charismatic, with its adult tones, hard lines, and intensity in all facets. I loved the comic book-esqe aesthetic and the personal tone resonating within the tale of a doomed friend. Exotic, striking, and groovy.

Blind Vaysha (2016) – 6/10 – Interestingly expressionistic. The wood-carving-esque animation style was cool. Feel that it was underdeveloped and a bit remedial in regards to the grandiose philosophical question/subject it put forth.

Borrowed Time (2015/2016) – 5+/10 – Gorgeous animation and a nice little story. Just felt that I wanted a bit more, though I enjoyed the somber tone.

Once Upon A Line (2016) – 5/10 – The concept of a story told on a line, along with its symbolism, was really cool but it didn’t do a whole lot. Decent, but I didn’t love it.

Head Vanishes (2016) – 5/10 – Surreal and interesting exploration of dementia. Interesting, but I was held at arms length throughout.

2/10/2017 - 20th Century Women (2016) – 7+/10

A tremendous examination of the masculine & feminine, set in relief to the cultural touchstones of the late 70's. Stylistically wise, both in cinematic disquisition and visual dynamism. Overall, magical film storytelling beyond being technically accomplished.

This was an acting story extravaganza. Zumann (the focal boy part) was solid, but by far the weakest, paling in comparison to the tremendous work being put in by Benning, Fanning, Gerwig, and Crudup. Each of them was clicking on all cylinders.

Precociousness, conspicuousness and artsyness were dripping of the slightly unauthentic dialogue, but it captured the quirk and singularity of the director/writers vision and these special characters. Similar to a Sorkin project, the charatcters/events/dialogue weren’t quite spurious, but it was a definite heightened reality.

The specific framing device that drives a chunk of the film faltered as it went on, but it still felt genuine and enjoyable. The whole film is wonderfully whimsical, humanly germane, and cinematically adroit. I liked this film quite a bit.

2/9/2017 - Tanna (2015/2016) - 6/10

Most authentic film I have seen in a while (which makes sense, being nearly entirely non-actor locals). Felt like I knew where this variation on a Romeo/Juliet story was going from the opening scenes, but its reality base and purity buoyed it. It was simplistic in technique but rich in experience and beauty.

Some of the actors (not being actors) were simply passable. The main duo did an adequate job, though rarely did they ever feel too stretched.

The importance, power, and creative/ destructive volatility of the volcano as analogy for their doomed love was inviting. Some gorgeous shots and inspiring majesty, which bleeds into the fabric of the feature. There are few subtle intricacies of this story or this world, but the overall product is not lesser for it. This is a solid movie with a charming peek into a far off existence, filled with spirit and natural reverence.

2/9/2017 - Life, Animated (2016) - 6+/7-/10

Inspiring. A good documentary that entertains while illuminating.

The deft storytelling, with the cross mediums and the experiential expressionism was a joy and privilege. It was moving and impactful enough to slightly attune the way I looked at/deal with the autistic. A special story and unique interpretation.

It may have been too long by a slight, lagging a speck and sacrificing some story/character momentum. There weren’t many tweaks to a pretty standard doc format, but it was engaging and edifying with its grace & pathos laden enlightenment. Certainly not extraordinary or overly amazing, but this was an unexpected treat.

2/2/2017 - Allied (2016) – 5/10

The visuals, set pieces and costuming are all aesthetically pleasing, highlighted with some choice shots, but the overall product is so flat emotionally. A sense of romance, dread, and intrigue are stunted and unsatisfactory for being the core of the entire film. The look is right, but the chemistry is lacking.

Pitt is so terribly wooden in this film. The character may be emotionally muffled, but Knight has had similar charcters (ex. Peaky Blinders) that could still get across their manic motivations as well as their distant reclusiveness. Just didn’t think he did a good enough job. Cotillard is charming and is doing her damndest to salvage certain scenes.

One thing: there were many sharp & drastic focal lens changes. I HATED those jarring changes. Complete distraction and unnecessary.

Solid, but the drama felt too inadequate and not lived in. Decent and looked/filmed mostly proper, just could not embrace it inside me. Average and fairly forgettable.