Jack's Favorite Movies of 2017 (Part I)

Well, it's that time of year again. Remember, if there's a movie on here you didn't care for or a movie that I left off for one reason or another, don't panic. It's just my silly opinion. There's also the important factor that these lists are always flexible One man's trash is another man's treasure and all that. With all that babbling out of the way, on with the show.

#20) A CURE FOR WELLNESS

Modern Hollywood doesn't tend to allow for much in the way of creativity in even their mid-level budgeted pictures. Yet, every now and then, an auteur gem like A Cure For Wellness is bestowed upon us. Visually sumptuous yet repellent and intricately plotted, this one mother of a gothic horror flick with plenty of grotesque ideas and some of the best production design in recent memory. Plus, I’d put this alongside Rango as justifications for why Gore Verbinski is one of the most interesting mainstream directors of the past twenty years or so. Love it, hate it, you won’t forget it. That’s for sure!

#19) DUNKIRK

Dunkirk is far from the most character-based war film; but, it surpasses a lot of others in how it effectively places the viewer in the violent chaos that is warfare. Christopher Nolan works his usual magic and manages to keep the suspense of each solitary moment tightly wound to its breaking point. Technically unmatched, it’ll be little wonder if this sweeps the upcoming Oscars. I would call it this year’s Gravity; but, this is an infinitely superior film to that and works just as well on the small screen as it does in the theater.

#18) THE BAD BATCH

Cinematic moodpieces can go either way for me. They can end up being insufferably pretentious detritus like Darren Aronofsky's mother! or they can be technically superb yet emotionally intangible like A Ghost Story, Sometimes, there's one that just works well with me. The Bad Batch happily fits that mold. Atmospheric and eclectic, Ana Lily Amirpour’s hallucinatory desert daydream may be slow-moving; but, its a film that I couldn’t take my eyes off of. Plus, what other movie will contain both Jim Carrey as a wacky hermit and Keanu Reeves as an over-the-top, Southern, life-of-the-party cult leader?

#17) ATOMIC BLONDE

Personally, the phrase “style over substance” has never really clicked with me. There are cases where that may be true; but, for now, I’ll stay right over celebrating movies like Atomic Blonde where the style is the substance. Plus, ultra-sleazy James MacAvoy is hands down my favorite flavor of James MacAvoy. Atomic Blonde is synthpop fueled, neon-lit bone-crunching action at its finest. Check it out!

#16) THOR: RAGNAROK

Let’s put aside the idea that this is the best out of the Thor movies (even if that assessment is right on the money). Thor: Ragnarok works best on own its merits. Taika Waititi’s quirky sense of humor gels with the 80s metal album cover/cosmic Jack Kirby-influenced hybrid action-fantasy aesthetic surprisingly well. It’s also a big event comic book blockbuster flick that’s not afraid to let the world end for once and start on newer paths. Bonus points for containing one of the best uses of Led Zeppelin’s discography in cinematic history.

#15) ALIEN: COVENANT

Ridley Scott seems to have had a pretty year, what with him reshooting over half a movie mere weeks before release and having it be greeted with critical acclaim. But, let’s not forget what he accomplished with . After the fascinatingly polarizing Prometheus, it's nice to see he came back swinging with Alien Covenant. While it has plenty on its mind to ponder, it also works as a brutally nasty sci-fi horror flick. So, we get the best of both worlds. A movie that questions the nature of curiosity while also having a harrowing climatic spaceship fight and a shower kill straight out of a slasher movie.

#14) GOOD TIME

Urban crime flicks are something that's always welcome in my cinematic diet and Good Time is no exception. The Safdie Brothers direct this city-based adrenaline rush with effortless skill and Robert Pattinson gives it his all (who knew this dude could actually act?). It should also be mentioned that the score from Oneohtrix Point Never is killer. The icy synth beats bring to mind names like Tangerine Dream and add layers of energetic tension to every scene. Give this one a watch in the near future!

#13) BRAWL IN CELL BLOCK 99

Undercut by a swingin' original soundtrack and an intriguing sense of pathos, Brawl In Cell Block 99 is a might fine prison picture. Vince Vaughn is peak form as an honest blue-collar man trying his best to make it out in one piece in a world that grows uglier and uglier every single day. All that tense drama overrides the picture's grindhouse-style cheap thrills; but, boy, is that bloodletting ever so satisfying. Keep punching that car with all your ever-loving strength, Mr. Vaughn!

#12) IT

2017 was a pretty notable year for Stephen King adaptations. Some were good, some weren't. As you can guess, IT falls into the former category. A thoroughly entertaining amusement park attraction of a horror picture that manages to muster some genuinely moving drama with its young cast. Plus, Bill Skarsgard gives a career-defining turn as Pennywise and its refreshing to see an 80s throwback that shows some restraint with the nostalgia. Here's hoping Part II is even half as good as this was. Also, if you didn't get to check this out in a crowded moviehouse, you missed out big time.

#11) THE DISASTER ARTIST

It would've been so easy to turn the bizarre story behind one of the most ubiquitous cinematic cult phenomenon into little more than a snarky joke at the expense of an elusive werido. Thankfully, James Franco chose to look at of in an way that's strikingly empathetic towards Tommy Wiseau and his baffling celluloid monstrosity. Even if you aren't into The Room or haven't the foggiest idea of what it is, this is still an enjoyable dive into the process of filmmaking that's both admirably sweet and screamingly funny.

And that's it for numbers 20 through 11. Come back tomorrow to see what landed in my Top Ten. Until then, fly casual, dear readers!

STAR WARS: THE LAST JEDI Review

So, here's the thing. About three hours ago, I walked out of The Last Jedi and realized how much of a great film I'd had just seen. My mind was preoccupied with all the great character work, story beats and other technical details that I was left wondering why I didn't completely click with me like it has with everyone else. This isn't to undermine the praise the film has gotten from pretty much everyone else except foolish fanboys. Far from it, I agree that this is about as close to perfect a Star Wars film has come since Empire. While I acknowledge this is most certainly the better film of these two selections, I say that I'm more fond of The Force Awakens as pure entertainment. Who knows? Maybe I'll be swayed from liking it to loving it upon a second or third viewing.

One of the biggest things I can say in this film's favor is that it's chock-full of surprises. The narrative reaches many points I genuinely didn't see coming and takes the new characters from the previous film in new and interesting directions. Most notable and predominantly focused upon are the parallel arcs of Rey and Kylo Ren. Both characters grapple with the emotional weight and themes the story thrusts upon them in starkly different yet equally compelling ways. Even John Williams' score manages to through in some nice new additions. Williams' status as the greatest film composer in the history of the medium and his occasional reuse of classic themes are by now well-established; however, there are subtle moments throughout his new work that manage to be memorable in their own right and help give this new generation of Star Wars films much more of a distinct identity than Rogue One or Force Awakens could've hoped to accomplish.

The performances here are all about what you'd expect. Daisy Ridley, Adam Driver, John Boyega and Oscar Isaac are back and better than ever (the latter of which is actually given something to do this time around, so here his presence is commanding). Kellie Marie Tran is a welcome new addition to the ever-expanding roster of new players. Laura Dern and Benicio del Toro don't have much in the way of screentime; but, it speaks volumes to as their acting chops to know how much of an impression they end up leaving when all is said and done. Then, there's Carrie Fisher and Mark Hamill. Fisher's passing about a year ago does add the proceedings with an inescapably tragic overtone; but, suffice it to say, her final turn as Leia is one to be treasured. Plus, as he does in most things, Mark Hamill owns here. He imbues Luke Skywalker with a new sense of guilt and paranoia that shows the character's age effectively.

Now, for the bells and whistles in the film. Rian Johnson may have just directed the most technically efficient film in the entire franchise. About every page in the script is brimming with great dialogue and every story beat is busy yet not overstuffed. There are a few fun editing gags every now and then. Plus, the cinematography is absolutely immaculate. Aesthetically speaking, this is Star Wars in its absolute prime. There's a moment near the very end of the picture where the shot composition and music choices are practically a textbook example of how to effectively reference an iconic franchise moment while creating something new in the process. I won't give it away because it's kind of a massive spoiler; but, suffice it to say, it packs a massive punch.


The Last Jedi might not be the best Star Wars film; nevertheless, it may be the most thought-provoking film in the entire saga. It deals with themes of failure, generational legacy and becoming more than what's expected of you (for better or for worse). It's a bold risk of a film that might work one hundred percent of the way; but, its existence is important regardless.

STAR WARS: THE LAST JEDI gets a...

BADA$$ out of TEN

Ladies and Gents, The INFINITY WAR Trailer is Upon Us!

Well, here it is. After a decade since its inception and almost twenty movies under its belt, the Marvel Cinematic Universe has finally reached what is essentially its penultimate chapter. Look, I'm aware that there are more Marvel movies planned after this; but, ever since it's been announced, Kevin Feige and company have basically been selling this as the grand finale for most of its top-tier cast members. Naturally, the first trailer we've been given is as epic and massive as one would expect.

Overall, the footage present here all looks cool, even if its structurally identical to a lot of Marvel trailers nowadays. The action looks intense, kinetic and refreshingly colorful. Allow me to elaborate. This movie's going to be directed by the same guys who did Captain America: Civil War and I wasn't keen as that film as the rest of the public. I can't say in honesty that it's a terrible movie; however, it feels like an utterly bland, soulless, mechanical product of a film. Part of that is because I think a similar storyline was handled better in Batman v Superman (fight me!) and it all looked desaturated sludge. Thankfully, this appears to have changed and the Russo brothers appear to embrace the cartoonish insanity of its source material while maintaining some level of narrative weight (hopefully). 

Josh Brolin seems like he's going to be fantastic as Thanos and all the new costumes for the returning players are pretty interesting. My biggest hope for this movie is that it doesn't cop out and undermine any dramatic momentum (like bringing Thor's hammer or not killing off any of the main characters out of fear a sense of finality). Plus, that ending tease is just perfect. We'll see how this all plays out, come May 4th of next year.

JUSTICE LEAGUE Review

Well, it’s finally here. After eons of development and some extremely unfortunate obstacles behind the scenes, Justice League is finally upon us. To say that there’s a lot riding on this movie is obvious and a little redundant; but, I’ll go into it anyway. Considering all of the post-production meddling, tragic circumstances surrounding Zack Snyder’s departure from the whole project months before release and a hefty price tag to the tune of $300 million, its safe to say that this movie was embarking on a steep climb uphill.Now, with all that baggage being mentioned, is the final product good?

Despite what certain critics who shall remain unnamed are saying, Justice League is a relentlessly entertaining comic book movie. Granted, that turbulent series of events up until its release definitely leaves it rough around the edges in certain spots and I’d take an extended director’s cut of what Snyder originally wanted; regardless, its almost a miracle that we have something that’s works as well as this does. Make no mistake, Snyder’s creative touches are still very prevalent and go well with what Joss Whedon had to touch up; but, there are certain changes that do leave the movie feeling a bit lightweight and underdeveloped. The pace is a bit too fast, some of the effects are kind of unpolished and certain moments don’t have as much time to breathe as they should. Nevertheless, Whedon doesn’t kill the flick with his usual impulses of making the thing so snarky that you want to strangle it because it’s so pleased with itself (hence, why I’m so lukewarm on both of the Avengers movies and most of his work in general). Still, this doesn’t prevent the movie from being a blast that works like gangbusters in its best moments. Thankfully, unlike The Avengers, the humor here is quite playful and has an undercurrent of mythic sincerity over weightless facetiousness. It may not be as deep or intellectually challenging as Man of Steel or Batman v Superman; but, it doesn’t need to be and works as a final chapter in a transitional period of these heroes going through cynical/ponderous beginnings into being the hopeful icons of true aspiration that have made timeless since their conception. A lot of this can be seen in how the film uses the return of Superman. I won’t give away too much. For now, I’ll say that he comes back with a bang and Henry Cavill’s charisma is in full swing when he’s back in action. Those who have ignorantly complained about Superman being too mopey should be just fine here. Its good to have you back, Mr. Kent.

Ben Affleck and Gal Gadot are still effortlessly terrific. While Wonder Woman remains as ethereal and virtuous as ever, Ben Affleck’s Batman manages to soften up in contrast to his brutal depiction in BvS and it plays out naturally. Regardless of what the final word on this franchise ends up being, Affleck’s Batman will undoubtedly go down as one of its greatest strengths. Aside from making the surfer dudebro personality work surprisingly well, Jason Momoa’s Aquaman is refreshingly awesome and has some of the best lines in the entire movie. Give it a while and the trite “Lol, Aquaman is the lamest” jokes are going to flame out for a long time. Ezra Miller’s Flash is awkwardly endearing and sweet. It’s amazing how cool they make the Speed Force look. Then, there’s Cyborg. Sadly, he feels like the one member of the team that gets a little underdeveloped; still, newcomer Ray Fisher conveys a lot with what little he’s given and he gets a few moments to shine once the third act kicks in. Everyone else gets the job done without much to say about their performances. Ciaran Hinds isn’t great as Steppenwolf; but, to say that his character is the worst superhero movie villain ever is puzzlingly disingenuous and hyperbolic (especially when you remember that Catwoman and The Amazing Spider Man 2 still exist).

Again, with the exception of what they did to remove Superman’s mustache, most of the CGI is fine. Even though some of it looks pretty cartoonish, I’ll give it a pass because it fits with the visual aesthetic at play here. While it may be a bit too familiar and at times out of place, Danny Elfman’s score is as effective and crowd-pleasing as one would expect. All of the action setpieces are pure, candy-colored kinetic joy. It hits that nice middle ground between chaotic superpowered spectacle and hard-hitting fisticuffs. Of course, all this wouldn’t amount to much if we didn’t like these characters and that leads me to this film’s greatest strength. Everyone in the League works remarkably well off of each other and their back-and-forth banter is hard not to enjoy. It’s also a nice reminder in a post-MCU world that not all team up movies (or movies in general, come to think of it) don’t need an onslaught of previously existing origin films to get us to care about them. I know I’ve already brought up The Avengers a few times here; but, I’ve done so with purpose and what I’m about to say is what makes the two films interesting. In the first of Marvel’s flagship crossovers, most of the film has its protagonists at odds with each other until they realize how they need to settle their differences (which is fine and realistic, but not every movie of this mold should follow this pattern). Here, such petty bickering is put aside because pretty much all the major players are keenly aware of what’s at stake and don’t waste too much time at each other’s throats.



Ultimately, as hackneyed as it sounds, I can say that Justice League is everything I wanted it to be as a comic book fan and as a movie junkie. It gets to why seeing a cinematic adaptation of comic book madness is so fulfilling. It’s not just that it’s throwing a bunch of stuff I recognize on screen. No, its more than that because it can be an epic take of something near and dear to your heart and some of this minutia would look amazing on the silver screen, regardless of whether or not its original or it came from the four color page. Sure, its not perfect; but, no movie really is and it’s those imperfections that both amplify the silver linings and reveal how much effort/care went into the film’s making. I’ve been waiting for this movie for about a decade and it’s definitely worth it. I’d probably go as far to say that I’m a little glad certain critics don’t care for it. It’s just more fun for a specific niche and I’m comfortable in the knowledge that such negativity won’t be able to take away how much of a blast I had with this.

JUSTICE LEAGUE gets a…
BADA$$ out of TEN

This DEADPOOL 2 Trailer is Just What the Doctor Ordered

Earlier this morning, I awoke to the news of a new teaser for DEADPOOL 2 and (if this trailer's anything to go by) it looks like we're in for another treat from Ryan Reynolds & company. Take a look for yourself.

First off, that Bob Ross parody is almost dead-on. Everything from the get-up to the credits to Ross's distinctly inhuman levels of calmness is mimicked to perfection; yet, that immaculate imitation would be for nothing if it wasn't paired Deadpool's signature juvenile wit. Sandwiched in between all that are the remnants of an actual trailer (which, while too brief into fairly critique, looks pretty cool all things considered). Plus, its nice to see they brought back the supporting cast from the first one.

DEADPOOL 2 arrives June 1st next year. Until then, we can savor this fun little teaser as well as this fantastic Norman Rockwell-esque poster.

THOR: RAGNAROK Review

Let's get one out of the way right off the bat: this isn't going to be another review where it can be summed up as "Lol, it was so funny". This isn't to say that the film isn't funny at all (certain moments had me rolling on the floor and laughing until I was out of breath); yet, that isn't its greatest strength. No, the best thing about THOR: RAGNAROK is just how bonkers and mythic it was. While I can't say this is the closest the Marvel Cinematic Universe has come to a full on classic (that distinction belongs to Guardians of the Galaxy Vol. 2 as far as I'm concerned), this is easily the gleefully out there film in their already expansive catalog.

Outside of eclectic mastermind James Gunn, I thought for the longest time that Marvel would play it safe and mute every visionary creative instinct within the directors they hire for their releases. Thank God I've been proven wrong by the choice of a quirky unknown filmmaker by the name of Taika Waititi (best known for idiosyncratic cult flicks like What We Do in the Shadows and Hunt for the Wilderpeople). His outsider sensibilities are very apparent, resulting in a film that's as refreshingly epic as it is amusing. There are shots in this film that would've made Jack Kirby and Frank Frazetta prouder than humanly possible. Its the kind of high sci-fi fantasy that was the bread & butter of dozens upon dozens of amazing heavy metal album covers in the 1980s; yet, that art style seems to have faded away aside from this film and that's a real shame. Speaking of which, this might be the most effective use of a Led Zeppelin song in any movie. Waititi seems to be in tune with the untouched upon fact about how electrifying classic rock tracks are practically tailor made for this kind of adrenaline-fueled action. On the subject of music, Mark Mothersbaugh does wonders with the score here. His hybrid of soaring orchestras and vibrant synth rhythms makes for the best soundtrack work attached to the MCU that isn't from Michael Giacchino. Mothersbaugh channels Queen's score for Flash Gordon and Tangerine Dream's work for Legend in every composition while being entirely its own thing.

The performances here are all top-level stuff. Chris Hemsworth and Tom Hiddleston retain their stoic charm. Mark Ruffalo still leaves me wondering why we haven't gotten another solo Hulk movie just yet. Tessa Thompson's Valkyrie works as a manically charming drunk who can also be the most manically unpredictable adventurer in the room, similar to Simon Pegg's character in The World's End (only not as dark or R-rated). Cate Blanchett is a thing of beauty whenever she's on screen, showing a respectable amount restraint of amount while not being below just wallowing in mustache-twirling evil from time to time. Karl Urban and Idris Elba bring their usual levels of cinematic gravitas to each of their small moments in the spotlight. As for Jeff Goldblum, he almost steals the whole movie as the Grandmaster. Considering how this is Jeff "Man of a Thousand Uh's" Goldblum in a cosmically fantastical Marvel picture, you better believe that he's as as you'd hope for him to be in this.

Now, I'll talk about the humor. Let me just say how happy I am that this breed of humor is becoming more prevalent instead of the overly self-satisfied snark of Joss Whedon's contributions. This, along with the aforementioned Guardians of the Galaxy films, recognizes the silliness of all of this comic book madness while understanding how much sincerity lies in both the source material and the love for said source material. Although, there is one instance where the devil-may-care indulgence does a disservice to the film's more dramatic moments near the end that happens to be my only major problem with the production. Regardless, its not so tone deaf to a degree where it becomes a deal breaker.



All in all, THOR: RAGNAROK does manage to end the world as we know it while feeling strangely fine. It manages to take countless potshots at the biggest superhero movie cliche known to man while also making the stakes feel tangible and actually suspenseful. Plus, it helps that this sort of nonsense is my cup of tea and its executed with unbridled precision.

THOR: RAGNAROK, naturally, GETS A...
BADA$$ out of TEN

It Came from Letterboxd (Halloween 2017 Edition)

Happy Halloween everybody! Here are some horror movie reviews that I'm reprinting because I had nothing planned in advance...I mean to get you all in the mood for the season. Anyway, on with the show.

THE THING (1982)

What was wrongfully reviled and scrutinized in 1982 has slowly revealed itself as one of THE perfect horror movies over the past three and a half decades. All the ingredients are there and they’re prepared to perfection. Masterful practical effects from Rob Bottin, smart characters, clever plotting, skillful direction, Ennio Morrricone’s haunting score, and bone-chillingly effective atmosphere. Even above Escape from New York and Big Trouble in Little China, this film cements Carpenter and Russel as bonafide titans of genre cinema.
[RATING: 5 out of 5]

SAW (2004)

At times tedious, questionably acted and showing it’s age too well (the editing in the now-iconic Reverse Bear Trap scene done in a rapidly hectic manner that screams “THIS WAS MADE IN 2004!”), it’s still a decently entertaining sleazy B-movie posing as lower-tier psycho-thriller fodder that paved the way for a whole franchise of enjoyably deranged splatter flicks and the fantastic career of James Wan. Some good atmosphere and memorable set pieces also help.
[RATING: 3 out of 5]

NEAR DARK (1987)

Man, they really don’t make vampire flicks like this anymore. Great doses of dark comedy amongst Southern fried, blood-soaked carnage. Sure, the low budget occasionally reveals the film’s limitations and the romance between Jenny Wright’s Mae and Adrian Pasdar’s Caleb could’ve, nay should’ve, been focused a little bit more (the two of them share a remarkable warmth/tenderness that serves as a nice counterpoint to all the chaos unfolding around them). Plus, Bill  Paxton’s Severen is now one of the favorite movie bloodsuckers. Nevertheless, the climax is fun and that bar scene is a classic. Makes you wish Kathryn Bigelow was making more stuff like this and Point Break instead of heated Oscar baby pleasers. Finger lickin’ good!
[RATING: 4 out of 5]

BRAM STOKER'S DRACULA (1992)

Coppola’s most phantasmagorical accomplishment as one of the all-time great filmmakers. Riveting acting (aside from Keanu Reeves and his much-maligned British accent), brilliant costume & set design, hauntingly operatic music and quixotic yet effective editing/cinematography choices. All of which add up to a horror film that truly earns being described as an epic. A true gothic standout from the horror pictures of its time that has yet to get the iconic status it deserves.
[RATING: 4 out of 5]

IT FOLLOWS (2015)

Perhaps the finest of the many recent homages to John Carpenter. Takes an initially silly premise and turns into something geniunely terrifying. A lesson in how to make a fantastic looking film with a small budget and creating a truly iconic horror soundtrack. Undoubtedly one of the best (if not the best) chillers of the modern era. Bla bla bla... you get the picture!
[RATING: 4 and 1/2 out of 5]

HALLOWEEN III: SEASON OF THE WITCH (1982)

Oh, what could’ve been if the Halloween franchise continued in this direction instead of bringing back Michael Myers for the umpteenth time. A unique little 80s horror picture whose campy sensibilities oddly compliment the haunting atmosphere, all wrapped with one bombshell of a down ending. Impressive gore and a well-utilized EC comics-esque premise are underlined by Carpenter & Howarth’s bone-chillingly eerie score. Year after year, I put this on and it always manages to get me in the mood for the season. Also, if you watch this and don’t have the Silver Shamrock jingle stuck in your head, I’m convinced you aren’t human.
[RATING: 3 and 1/2 out of 5]

THE NEW MUTANTS Promises a Different Kind of X-Men Flick

While my gripes with the X-Men movies being utterly bland are well-known at this point, I'll admit I'm onboard with this new shift in direction Fox is taking these movies (even if I think they're probably going to screw up the Dark Phoenix story arc yet again). Nevertheless, with Logan feeling like a 70s-era Western and the FX show Legion feeling like a Lynch/Cronenberg-esque psychological sci-fi thriller, its good to see there's at least one franchise out there that's trying to do something truly different with the superhero genre. Today, we just got the first teaser trailer for Josh Boone's upcoming cinematic interpretation of The New Mutants. Take a look at it if you haven't already.

Most of what I've heard of this production beforehand is how the creative team was going into full-on horror movie territory within the established X-Men film continuity and they weren't kidding. If you cut out the Marvel logo in the opening, this is almost indistinguishable from the crop of scary flicks that usually hit the multiplexes lately (in ways both for better and for worse). Then again, I do commend what Boone's going for here and what little footage is seen here already leaves me with questions upon questions about what exactly we're in for here. Besides, we've never had a true horror superhero flick. Sure, we've had movies based around supernatural superheroes (Constantine and Blade being among the few good ones) and movies based on actual horror comics; but, we haven't been getting anything quite like this. Plus, it has a decent cast of famous newcomers and relative unknowns. That should be interesting. 

THE NEW MUTANTS arrives April 13th, 2018. Here's hoping we're in for something special.

THE LAST JEDI Gets Some More Awesome Promo Material

THE POSTER
First, there's now the first theatrical poster. Get a good look at it.

Personally, I dig it. Granted, its a bit of a disappointing follow-up to the first poster they released back in April (click here if you need a refresher), considering how that has a stark color palette and excellent compositional work while this feels a little less memorable. Regardless, it looks pretty cool.

THE TRAILER

Yep, that'll do quite nicely. All of the new locations all look pretty interesting, the dynamic between Luke and Rey seems intriguing, Also, lets talk about that ending. The main hot take on all of this that I'm predicting is God knows how many clickbait headlines hyperbolically asking id Rey is going to turn to the dark side; however, my take is that she's trying to win over Kylo Ren away from the light side. Who knows? Maybe, she's just trying to get him to surrender and then straight up murders him (that probably won't happen, by the by). Ah well, this still a pretty good trailer. Much like The Force Awakens, it doesn't give too much away and draws you in to see what happens next. Here's hoping it lives up to the hype like last time.

BLADE RUNNER 2049 Review

Just a heads up: this will be a spoiler-free review. Regardless, I'd advise you all to go see this movie ASAP (and maybe watch the first Blade Runner just as a quick refresher before you check out the sequel) before everyone else spoils it for you. In the meantime, on with the critiquing.

Sitting in my local IMAX theater, witnessing the awe-inspiring marvel that is Blade Runner 2049 made me feel like I was experiencing the real-life equivalent of the Stargate sequence from 2001: A Space Odyssey. So much complex beauty to take in, that you're left speechless and thinking "Wow! That was an experience!" I haven't left a screening so speechless and awestruck since I saw Christopher Nolan's Interstellar about three years ago. To discuss the plot in any way would potentially ruin a mystifying experience that I wouldn't dare deprive you of.

It must be said that the entire cast brings all that they got to the table. Ryan Gosling manages to undercut a very cold demeanor with layers of raw emotion. The pain and melancholy his character goes through is poignant and thought-provoking. Robin Wright does fine of giving her expository dialogue some personality and pathos. Despite their relatively brief amounts of screentime, Jared Leto and Dave Bautista leave big impressions in their respective parts. Incidentally, Harrison Ford's extended appearance around the end of the second act turns out to be quite satisfying while adding a few more layers to his character. There are also great moments from bitplayers like Barkhad Abdi, Mackenzie Davis, and Sylvia Hoeks. With all that said, the real standout here acting-wise is relative newcomer Ana de Armas. Her relationship with Ryan Gosling's K is tender and sweet while also maintaining an ethereal aura of tragedy. Here's hoping this is a breakout for her like how it was for Sean Young in the 1982 original.

Thankfully, the fantastic acting and masterful storytelling are matched by near flawless technical aspects. If Roger Deakins doesn't win next year's Best Cinematography Oscar, the Academy Awards will be officially worthless*. He conjures up so many colorful, instantly iconic images that one might say this is his best work to date (and that's saying a lot). Hans Zimmer and Benjamin Wallfisch provide a mesmerizing score. While not living up the astronomical heights of Vangelis' compositions from the original (really, what can?), it complements the film extremely well and is easily among the former's best work since Man of Steel. Fortunately, it doesn't rely on constantly using cues from the original to work and provides the movie with something truly fitting. Don't get me wrong, there are occasional tones from the original score; but, they're used sparingly and with great purpose. All of the effects work is jaw-dropping. It manages to expand upon the already fascinating world of the original in novel and interesting ways. Plus, its still kind of funny to see Atari is a huge voice in the consumer market in the not-too-distant future. My only nitpick about the movie is a certain plot point regarding Gosling's character near the beginning of the third act. Maybe I'm in the minority on this, but I feel like it robs his character of a little more intrigue. Even with that, that doesn't stop everything else from being absolutely top-notch.



In the end, only time will tell if Blade Runner 2049 goes on to become a classic work of cinematic science fiction like its predecessor; nevertheless, its a relentlessly captivating work of filmic artistry in its own right. Director Denis Villeneuve and company should be applauded for accomplishing the impossible. Aside from being an amazing sequel, it displays the very best of what mainstream blockbusters and the very medium of the motion picture can offer.


BLADE RUNNER 2049 gets an...
ARTISTIC TRIUMPH out of TEN

*Which, if we're being honest with ourselves, they kind of are already.

It Came From Letterboxd (09/30/2017)

Yeah, yeah, you know the drill...

THE SOCIAL NETWORK

A remarkable portrayal of youth at the dawn of the quote unquote Information Age. Pretty much every performance (yes, even Jesse Eisenberg’s Mark Zuckerberg) works like gangbusters and I could listen to Aaron Sorkin’s dialogue for hours on end. Fincher packs more energy and punch into scenes of guys sitting around coding than a lot of blockbusters do in their action setpieces. Terrific filmmaking that I’m puzzled to not have witnessed sooner. Also, that score by Reznor & Ross just kills. It makes for great listening on its own and imbues the film with a unique sense of vibrancy that lends gravitas to every moment it’s used for.
[RATING: 4 out of 5]

DELIVERANCE

Oh boy, did things escalate quickly while somehow maintaining an almost glacial pace. Despite the strong performances, this movie really just kind of sits there a lot of the time. Plus, when it does get interesting, it’s usually in a way that feels undeservedly slimy and raw. Still, there are a few high points. It opens on a leisurely but intriguing note. The legendary John Boorman directs the thing like a champ and it’s all occasionally reinvigorated by a unique score. Before watching this, I read that this was adapted from a novel by its author. It certainly makes sense. I figure that would work much better on the page than it does on the screen. Also, mustache-less Burt Reynolds is my least favorite variety of Burt Reynolds.
[RATING: 2 1/2 out of 5]

TIM AND ERIC'S BILLION DOLLAR MOVIE

Proof that the jump from television to the cinema comes with an equal amount of cons as well as pros. To put it simply, Heidecker and Wareheim really do work better in a somewhat restrained 22 minutes chock full of sketches instead of something that’s three times as long and contains more misfires than bullseyes. Even at a measly 93 minutes, the end product is way too slow and the running time way too cumbersome. Definitely not for anyone outside of hardcore T&E fans or maybe those seeking some really out there, preposterously vulgar anti-comedy.
[RATING: 2 out of 5]

PENNIES FROM HEAVEN

Certainly, an interesting picture. Think of it like La La Land, only set in the Great Depression, decidedly pessimistic and oddly dirty at points. Steve Martin proves himself more than capable of handling the dramatic role of a struggling music salesman while Jessica Harper and Bernadette Peters equip themselves quite nicely as his thankless wife and a potential new lover, respectively. Even the legend himself, Christopher Walken, has a rather entertaining cameo near the end. Even amongst the seemingly endless aura of gloom, the occasional song-and-dance numbers breathe some well-choreographed life into the proceedings. A fascinating mixture of musical optimism and realistic cynicism.
[RATING: 3 1/2 out of 5]

KINGSMAN: THE GOLDEN CIRCLE Review

Kingsman: The Secret Service was very much in tune with director Matthew Vaughn's other Mark Millar adaptation: Kick-Ass. Both films were refreshing bits of mud in the eye of their respective genres while also being genuinely great in their own right. Heck, Kingsman was arguably better at providing what people love about the genre it was satirizing than the real deal, considering that the bland disappointment that was Spectre came out around the same time. As is the case with sequels (especially with Kick Ass 2), this film doesn't reach the same level of the first entry even though its still a fun time in its own way and is probably more out there/over-the-top than its predecessor.

Of course, a lot of this ridiculousness is buoyed by stellar work from the cast. Taron Egerton continues to be a winning screen presence with plenty of charm and good humor. Colin Firth and Mark Strong bring an equal level of dignified class and raw awesomeness. Then, there's the Statesmen. To sum it up quickly, the stuff with them is pretty inventive despite their limited screentime. And then, there's Julianne Moore as the film's antagonist. Her performance is best described as Pablo Escobar by way of a 1950s sitcom mother. This unique persona combined with a delightfully pitch-black sense of comedy and a gleefully cartoonish arsenal. Arguably, she's a better/more memorable villain here than Samuel L. Jackson was in the first movie. Then again, Moore has the advantage of a jungle-50s hometown hybrid lair and two terrifying yet adorable robotic guard dogs. Also, Elton John just won Cameo of the Year in my book.

Once again, the action is a gloriously spectacle. Not only because of their outlandish nature on paper, but also because Matthew Vaughn continues to effortlessly display his chops as one of the most visionary artists in the realm of modern action cinema. Everything from the intimate camerawork to the to the excellent use of , his approach is like the best remix of what's come before with his own new, individual tools for good measure. His action setpieces feel like they were thought up by a 12-year-old on the ultimate sugar high and I mean that in the most positive way possible. Going back to Elton John for a moment, the climactic jungle battle set to one of his most electrifying tunes is so energetic and amusing, I'm confident in saying that it reaches the same insane heights as the first one's infamous Free Bird church brawl. Meanwhile, The Golden Circle continues the first film's streak of cheekily vulgar comedic style. Yes, in case you're wondering, they do indeed one-up the Princess Joke. Granted, I wasn't that shocked by it considering that I knew about it ahead of time and that I was too busy being startled by the fact that some misguided individual decided to bring their young child to this sublime cavalcade of violence and depravity. Nevertheless, I still admire the gumption of the cast and crew to use a portion of the $100 million budget to put something so shamelessly salacious to celluloid.
My only gripes consist of a few great characters from the first film being kind of wasted (lets just hope that what happens here is simply a red herring and they do come back in a potential third flick) and it does occasionally feel like its going through the motions. Still, that doesn't hold it back from being great fun and maybe a second sequel could bring more new interesting ideas to the table.

Ultimately, Kingsman: The Golden Circle is essentially what's expected of a sequel. It's bigger, bolder and even more brash than the first one (which is admittedly quite an impressive feat). Is it better than the first? No, because it doesn't feel as fresh or as, for lack of a better word, restrained as the original. Regardless, this is still an absolute hoot that puts a lot of other action movies out at the moment to shame.

KINGSMAN: THE GOLDEN CIRCLE gets a...
GOOD TIME out of TEN

That New TOMB RAIDER Movie Actually Looks Kind of Awesome

First things first, let's address the elephant in the room and talk about that poster. You know, THAT poster.

Rarely have I seen such a disastrous Photoshop job that could've easily been avoided. Seriously, they couldn't have just covered her neck with some more hair to make sure she doesn't look like she's morphed into a freakish giraffe-human hybrid. Anyway, those are some minor semantics; let's get to the real interesting point of discussion.

Even after that rather laughable poster, I'd say this new trailer earns the film some much-needed goodwill. All of the elements of a fun action-adventure flick. The cast is impeccable (the inclusion of Walton Goggins and Nick Frost are enough to rope in to seeing it), the action setpieces seem like fun, it seems to be drawing from the most recent iteration of the franchise (which is all fine and dandy to yours truly) and its all edited together quite handsomely. Plus, I have to admit, Alicia Vikander seems to make for a pretty convincing action heroine. Sure, it helps that she's a good actress; but, having charismatic genre film lead chops can go a long way (see also: Harrison Ford and Kurt Russell). I'm just hoping the final product is actually good.

I mean lets be honest with ourselves here, videogame movies haven't exactly had what could genuinely called a stellar track record; but, I do think something as inherently simple as could make for a great starting point for gradual improvement. Some of the best adaptations out there are ones where the creative team uses the basic skeleton of the source material as a foundational point and then focus on being just a great movie. Need I remind you that what the Tomb Raider games have settled into as a niche is already pretty well-worn territory as films go. Nevertheless, if this thing pans out okay, I'm totally fine with another serviceable adventure flick.

TOMB RAIDER hits theaters on March 16th, 2018. Here's hoping this ends the whole sucky videogame movie curse that's been plaguing this particular genre for almost 25 years.

IT (2017) Review

For a couple years now, I've been holding the belief that a horror movie can still be good (if not great) even if it isn't all that scary overall. Its kind of like how Edgar Wright's comedies are legitimately great films, regardless of whether or not they're actually funny, which they most certainly are. Anyway, this new cinematic version Stephen King's seminal novel (which itself was already adapted into a not terribly good TV movie, aside from Tim Curry's legendary performance as Pennywise, back in 1990) does a bang-up job of being a solid adaptation and a fantastic creepfest film in its own right. Granted, me not finding this film all that scary is partially due to the fact that I just don't find clowns particularly frightening; still, its certainly effective due to terrific atmosphere and a spectacularly menacing performance from Bill Skarsgard as the dancing clown himself.

In some ways, the live-action portrayals of this iconic creature bring to mind the most memorable live-action versions of the Joker. Sure, Tim Curry and Jack Nicholson are undeniably iconic and are humorously entertaining; nevertheless, Heath Ledger and Bill Skarsgard deliver the better performances and will most likely leave you shaking with fear by the time you exit the theater. From his beady yellow eyes to his smile to his suspicious voice, Skarsgard stands apart from the original while also blazing his own new terrifying trails.

Plus, what makes this new Pennywise work besides his unsettling mannerisms and chilling presence is how sparingly he's used. They use him enough to where you'll be satisfied; but, not too much to a point where he's no longer scary. Aside from that, the second smartest move was splitting the book's epic story into two movies. Not only does this let both portions of the story unfold in a way that doesn't feel too crowded or bare bones, it also means that we get, at least, one great film out of the deal if this first one doesn't rack up the box office numbers that Warner Bros wants it to*. In my opinion, the first half with the protagonists as children is superior because there's more dramatic meat that comes with such a young age and their vulnerability lends the story to developing both character and suspense. All of which this movie pulls off like gangbusters. Let me just take a moment to give credit to the absolutely marvelous casting in this film. Each and every one of the kids delivers star-making turns (Sophia Lillis' Beverly and Finn Wolfhard's Richie are particular standouts). Even though these individual performances are terrific, its the dynamic between all of them and the excellent character development that make sure the story has its vital strand of heart and humor underlying all the ghoulish chaos.

There's also the amazing technical aspects. Director Andy Muschietti has only worked one other film before this and he shows up like a seasoned professional here. Seriously, its shocking how well-directed IT is. The cinematography is also quite striking. Everything from the claustrophobia invoked in the sewer scenes to the dutch angles and haunting backlighting in the Neibolt House that feel ripped straight from the playbook of Sam Raimi. Benjamin Wallfisch already proved his composing chops earlier this year with the gothic histrionics he brought to A Cure for Wellness and he gives IT a fitting sound as well. The music he did here is often otherworldly and phantasmagorical in ways that bring to mind names like Jerry Goldsmith, Bernard Herrmann, and especially Danny Elfman. There's also the frequently sharp and tight screenplay courtesy of Gary Dauberman, Chase Palmer, and True Detective-alum Cary Fukunaga. The dialogue here makes the back and forth between pre-adolescent main characters credible without losing any of Stephen King's trademark wit/attention to detail.

I only have two complaints of note. For starters, the jump scares are pretty hit-and-miss. Most of them work pretty well; but, others feel like they were lifted wholesale from Blumhouse's back catalogue of weaker material which is a shame because these end up undoing of some of the tension that the film had built up to almost masterfully in a given scene. Besides that, the CGI is a bit questionable at times which makes certain moments elicit of screams of laughter instead of fear. Still, these are very minor quibbles with what is otherwise a fantastically package.

Overall, IT feels like an old-fashioned, cinematic carnival spook-house (think Evil Dead 2 or Creepshow) with enough dramatic depth and poignancy to make it feel like something more.

IT (2017) gets a... 
BADA$$ out of TEN

Also, I highly recommend seeing this with a crowd. I was fortunate enough to see IT in a packed house and I had a bloody blast.

*By the way, I have no doubt this is going to get a sequel. Not only because of its staggeringly impressive box office haul; but, also because IT is a bonafide crowd-pleaser. The word-of-mouth on this production are going to give some serious staying power and well-deserved leverage.

Colin Trevorrow Is No Longer Directing Star Wars: Episode IX

Recently, Lucasfilm released a statement declaring that Colin Trevorrow (the filmmaker behind Jurassic World and Safety Not Guaranteed) will no longer be directing Star Wars: Episode IX. To sum it up, he's left the project due to the most common reason for someone exiting a production that isn't scheduling conflicts: creative differences. If you're even remotely tuned into the whole movie news traffic cycle, this should seem somewhat familiar. Ever since the whole Ant-Man debacle with Edgar Wright way back in mid-2014, there's been kind of a pattern of big-name directors leaving high-profile productions. This isn't even the first time this happened with the newer Star Wars flicks. Josh Trank (Chronicle, Fant4stic) and Phil Lord & Chris Miller (21 Jump Street, The Lego Movie) left for the same reasons.

Honestly, I don't see this as a huge loss because I've never had any strong opinions on Trevorrow as a filmmaker one way or the other; nevertheless, I do think there could be more to this story than simple disagreement between a studio and a director. The Book Of Henry, his latest film, has generated a significant amount of ink in the film journalism racket. Not for garnering Oscar buzz or surprising box office numbers; but rather for the exact opposite. Granted, I'll continue to reserve judgment until I've actually seen the film for myself; but, suffice it to say, the reception has been pretty ugly. So, this could be Disney/Lucasfilm severing their ties with what they see as dead weight. Now, is this certain? It's hard to say; yet, I wouldn't be shocked if this wasn't at least partially responsible for this departure. At the time of writing, the script is being rewritten by Jack Thorne (the playwright behind Harry Potter and The Cursed Child). Even with all this drama, I still think Episode IX is going to turn out just fine. We'll just have to wait and see.

It Came From Letterboxd (09/03/2017)

Remember when I posted a few mini reviews of movies both new and old about a month ago? Well, I'm doing that again. Enjoy!

THE HITMAN'S BODYGUARD

The Hitman's Bodyguard joins the ranks of The Other Guys in the pantheon of flicks that FX likes to keep in their back catalogue of late Saturday afternoon fodder. Doesn't really hit the ground running until halfway through the runtime (also, Gary Oldman is completely wasted as the bad guy); but, the chemistry between the two leads manages to carry the film through the many dry spots. Overall, a disposable (albeit intermittently fun) excuse for Sam Jackson gleefully throw around his very favorite word a few hundred times.

[RATING: 3 out of 5]

SKYFALL

Almost five years old and I'm still convinced that this is one of the best Bond movies ever. Aside from the iconic action sequences and memorable character moments, there's a lot of other stuff to recommend. The story is layered in all the right way and Javier Bardem is a fantastic villain. Plus, I do love me some Deakins photography (especially when it involves 007 and neon lighting). Stone-cold spy stunner that's aged like a fine wine and will continue to do so for years to come.
[RATING: 5 out of 5]

CLOSE ENCOUNTERS OF THE THIRD KIND

I honestly feel lucky that I was able to experience one of Spielberg'a masterworks on the big screen. Fantastically mysterious  buildup to a cryptic yet optimistic payoff. Immaculate cinematography of late-70s Americana paired with great performances (especially from Dreyfuss and Truffaut) and one of the all-time great music cues. One of the great classics from the wizard of whimsy.

[RATING: 4 & 1/2 out of 5]

ROCK N' ROLL HIGH SCHOOL

A wonderfully bizarre, punk-fueled teen comedy (presumably from a strange alternate dimension where things go by the logic of a MAD Magazine sketch). Even after a few minutes of seeing it, I'm going to say this is one of the best high school movies ever made. Partially for the awesome music from the Ramones, one of the all-time greats in the pantheon of punk rock bands; but, mostly because of how utterly deranged it is. To list all of the insanity that goes down here would not only be redundant, it would ruin a lot of the fun. Definitely saving this for whenever a party gets too boring and I need something to liven things up.

[RATING: 4 out of 5]

NETFLIX REVIEW: Death Note (2017)

You've probably heard this from almost every other critic who's talked about this film; but, here goes. I am not familiar the manga that this film is based on outside of having an idea anout. So, I really can't say whether or not this is a faithful adaptation (from what I've read, its probably in the "not faithful" category). That being said, I can say that I was thoroughly entertained by Netflix's live-action adaptation of Death Note.

Is this film flawed? Yeah. But, these shortcomings don't keep this film from being pretty good when its all said and done. For those who don't know, the whole idea here is that there's this notebook whoever's name is written down in it (alongside a physically possible demise for them to meet) will die. Even knowing nothing about the source material, this is a pretty awesome premise with a lot of potential that this film takes advantage of. My only gripe in this aspect is that there could've been a couple more creative kills; but, the gore that director Adam Wingard does give us here is pretty satisfying. Speaking of which, I really love his approach to this adaptation. Not only because I really admire his directing style (I'll get back to that in just a moment), but also because he throws the idea of repeating stuff from the source material right out the window. Aside from that, Wingard's directorial flourishes are on full display here. From the striking use of color to the dark sense of humor to the impeccable use of music (both the score* and soundtrack), this is very much in the vein of his other gems like You're Next and The Guest.

With the exception of one in particular, the performances are pretty serviceable. Nat Wolff is fine in the lead (even if his acting does let the movie down in certain moments). Margaret Qualley is kind of interesting as his girlfriend and Keith Stanfield is pretty good as the detective tracking the two of them down...and then, there's Willem Dafoe. Where to begin with him? Okay, first off, casting him as a cackling, beady-eyed demon is a stroke of genius; but, the best
part about it is he steals every scene that he's in, despite being kept in the shadows for almost the entirety of the runtime. I could just hear that cackle over and over again and still be perfectly happy. If they do make a sequel to this (which would be cool, I'll admit), they've gotta bring him back. He's easily one of the best (if not THE best) things this film has going for it.


Ultimately, the best way I can describe this flick is asking you to imagine a mixture of urban vigilante movies and schlocky horror flicks from the 80s/90s underlined with a somewhat inconsistent (yet, still amusing) sense of black comedy. Death Note makes for perfect late-night weekend viewing, if this kind of cinematic junk food is up your alley.

DEATH NOTE gets a...
GOOD TIME out of TEN

*I hope this isn't like Ghost in the Shell where they didn't release the score because Atticus and Leopold Ross turn in some tremendous work here.

Martin Scorsese and Todd Phillips are doing a JOKER Movie

Well, talk about news I didn't expect to hear today, or ever come to think of it. According to Deadline Hollywood and the rest of online film landscape, DC and Warner Bros. are in the process of putting together a Joker origin film under a new, non-canonical banner. As for the talent pool they've assembled, get a load of this. Not only do we have Todd Phillips (helmer of War Dogs, Old School and The Hangover) directing and Scott Silver (writer of 8 Mile and The Fighter) penning the screenplay, they've got the one and only Martin Scorsese producing the project.

Aside from the massive dose of goodwill that Scorsese's name brings to this, I actually think Todd Phillips is a better director than a lot of people give him credit for (seriously, War Dogs was dank). There's also the endless possibilities that come up with the fact that this will potentially be the first of many standalone DC movies. Basically, these movies can be their own thing without having to worry about shoe-horning in references to the ever-growing cinematic universe. At the time of writing, there's no name for this new label yet; still, the idea of a whole bunch of stand alone, unconventional takes on DC characters is certainly a tantalizing prospect. Plus, a new actor is going to play the Clown Prince of Crime while Jared Leto will continue to do his polarizing schtick in the Suicide Squad sequel and that Harley Quinn spinoff. My main hope is that this origin story doesn't recycle the same Killing Joke minutia that's been used in almost every Joker story for the past 25 years. Its hackneyed and there are plenty of other places to get inspiration from (such as Ed Brubaker's The Man Who Laughs). There's also the bits where its allegedly going to be inspired by flicks like Taxi Driver and The King of Comedy.

Overall, I'm definitely curious about this. Share your thoughts in the comments if you see fit.

ATOMIC BLONDE Review

While watching this film, I couldn't help but think of what another film critic said about Zombieland years ago: it was a hilarious take on well-worn jokes. Why do I bring this up in a review for a seemingly unrelated film? Well, that's because a similar summary could be used to describe Atomic Blonde. Is this the most original spy flick? Not particulary, no. In fact, it cribs a lot from similar Cold War era espionage pictures. Even the main plot device feels like it was lifted straight from the opening of Skyfall. While the substance here might not be all that fresh, it makes up for that with a hefty amount of style and class. Its a fun (albeit lightweight) action flick that's a little too long for its own good; but, there are certainly some memorable high points.

Charize Theron owns as the films lead. While she certainly dishes out a lot of pain, she doesn't come out of all this chaos unscathed. Far from it, she's pretty roughed up by the end of the movie. Its a trick that a lot of modern action flicks need to remember: a lot of the tension in these movies comes from the fact that the protagonist are as vulnerable as they are awesome. Plus, these characters wouldn't be as interesting if they were nothing but unstoppable killing machines. Anyway, lets get back to the rest of the performances. James MacAvoy does his standard (but still fiendishly entertaining) brand of ultra-sleazy British corruption. Sofia Boutella is also kind of fun as a character that's essentially this film's equivalent to a Bond girl.

All of the action is ridiculously violent and over-the-top (as to be expected from a director who did the first John Wick). Out of all of them, the stairwell sequence is the biggest standout. With maybe one exception, its all relatively easy to follow and the camerawork never gets too hectic. As for the aforementioned stylistic leanings, that's the non-action part that keeps this movie afloat. Again, much like the John Wick movies, a lot of the film is absolutely soaked in candy-colored neon. It also helps that the soundtrack's stuffed with 80s pop classic (as well as some nice synth work from the ever-reliable Tyler Bates). Heck, there's even a pretty wizard remix of Blue Monday.



In the end, Atomic Blonde is a fun ride that'll go down in film history because of a few all-time stunning action setpieces and as another edition to Charlize Theron's growing status as an iconic action heroine.

ATOMIC BLONDE gets a...
GOOD TIME out of TEN

The Long-Gestating Adaptation of NEUROMANCER Has A Director

Those who know me are aware of my affection for the cyberpunk genre. One of my favorites works in this subgenre has to be William Gibson's seminal 1984 novel, Neuromancer. From its fascinating themes to the thought-provoking story and mesmerizing world it takes place in, its a novel I have a particular fondness for and often rewards multiple rereads. To my dismay, many attempts at bringing this literary masterpiece to the silver screen have been fruitless. Many names have been attached to direct such as famed music video/cult film director Joseph Kahn and Vincenzo Natali (director of such films as Cube and Splice).

While I've only been a fan of the book for a couple years, I still maintained that this was one of those things that was going to remain in development hell* for decades. Thankfully, those qualms may be put to rest. Recently, 20th Century Fox has selected Deadpool director Tim Miller to helm this long-awaited adaptation. On top of that, Simon Kinberg has been selected to produce the film. At the time of writing, no one has been tapped to write the screenplay just yet.

Really, I hope this isn't another Fant4stic situation where the end result was so botched and the BTS** drama got so out of hand, that they would have been better off if they just went with the filmmaker's vision. Then again, this guy did make Deadpool and it could be a similar situation to how Warner Brothers treated Christopher Nolan during the Dark Knight trilogy (i.e. the studio realizes they might have a truly bankable director on their hands and they're smart enough not to bully him). Plus, outside of a few duds, Kinberg is a pretty solid producer. Overall, I'm feeling pretty excited that this movie might finally happen. Here's hoping its good, possibly even spectacular.

It Came From Letterboxd (08/09/2017)

The thought occurred to me that I don't review many older movies, whether its something that's only a couple years old or a few decades old. Well, that and how there some recent movies that don't give me enough material for a full review. When it comes to movies that fit that description, I tend to talk about those on my Letterboxd page. Here are a few of those reviews for your reading pleasure...

LEGEND (1985)

An ethereal experience unlike anything else from this era in fantasy cinema. It's simplicity is more than redeemed by the mesmerizing atmosphere created through the beautiful score and, of course, the absolutely gorgeous visuals. Through Scott's brilliant direction, we get all of that and one of Tim Curry's greatest performances. Wrongly maligned during its original release, I'm happy it's gotten the recognition and respect it deserves.
[Rating: 4.5 out of 5]

DREDD

Sure, some of the CGI hasn't aged all that well; but, it's still a pretty fun, hard-knuckle sci-fi action picture in the vein of stuff like Die Hard and Assault on Precinct 13. The blood is great and it gets the original comics in ways that the Stallone version just couldn't. Karl Urban, Olivia Thirlby, and Lena Headey are top-notch and the pace is breakneck. Overall, a real blast.
[Rating: 4 out of 5]

THE SHALLOWS

Man, does Jaume Collet-Serra know how to direct a B-grade picture in the classiest, most polished way possible. Plus, there's a whole bunch of other nifty little tricks. Like a good Blake Lively performance, one of Marco Beltrami's better scores, some decent blood effects, and an adorable little bird named Steven Seagull. Not much more you could ask for from a summertime shark flick.
[Rating: 3.5 out of 5]

BEAUTY AND THE BEAST (2017)

And now an open letter to Disney:

Unless you get a filmmaker who actually has something interesting he (or she) can do with the material, you must do the following: STOP DOING LIVE-ACTION REMAKES OF YOUR BACK CATALOG OF ANIMATED CLASSICS! Just stop it.

(end letter)

To put it simply, this is the Gus Van Sant's PSYCHO of Disney movies. A film so lazy, cynically-made, and pointless that I wouldn't be shocked if they just used the actual script from the far superior 1991 original with a few extra lines added. Its moments like this where I'm Bill Condon is wasting his time directing dreck like this instead of films like Kinsey, Gods & Monsters and that (hopefully awesome) Bride of Frankenstein reboot. What a waste of talent and time on needlessly remaking the tale as old as time.
[Rating: 1.5 out of 5]

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Those were just a few of these mini-reviews. Comment and hit me up on your preferred social media platform to let me know if you want to see more of these. In the meantime, take care!

Netflix Just Bought the Rights to Millarworld

Aside from the rather surprising news that the company is now $20 billion in debt*, Netflix has still been making the headlines for other reasons. Sure, there's the massive hype train circling the upcoming Defenders miniseries and the apparent increase in quality that their original films might see in the near future; but, that's not what I'm hear to talk about today. Instead, I'm hear to talk about what I find to be the streaming giant's most interesting announcement: their acquisition of Millarworld.

For the uninitiated, Millarworld is a comic universe consisting of titles and characters created by industry legend Mark Millar. And, for those who don't know who he is, he wrote the following comics**: Kick Ass, Wanted, Kingsman: The Secret Service, Civil War (yes, the Marvel one), and Old Man Logan. No word is out yet on which title will be first out of the gate; yet, it has been announced that the adaptations will include both movies and television shows.

Considering the diversity of the actual source material and how unique/deranged Millar is as a creative force, it'll definitely be interesting to see how all this plays out. Out of all the properties under this label, Nemesis might be the one I'm most excited for (both because of the potential inherent to the premise and because of how long this has spent in development hell).

*Source for the whole Netflix debt story: click here.
**All of the titles listed have been adapted into big movies.

DEADPOOL 2's Cable Has Finally Been Revealed

Hey everybody! Before we begin, I just wanted to say that other Deadpool 2 post that I said would do in the last post is still coming its just going to take some time. Once again, stay tuned! In the meantime, here's some other exciting news.

Last time I discussed a new character reveal for this flick, my thoughts weren't too positive. Granted, I've changed my tune to a more positive note ever since I posted that last piece; however, I still say that that looks nothing like Domino outside of the little bit of paint around the eye. Now, on the opposite spectrum, it looks they've gotten Cable down to a tee.



From the glowing eye to the cyborg parts to the cartoonishly over-sized gun, it looks like they've done a literal translation from the pages of the comics to the screen. Besides the satisfaction of seeing a famous character's look be almost perfectly translated to the screen, its just an awesome design (I even like the silly little teddy bear he's got attached to his armor belt). Let's just hope the movie also takes a moment to make fun of the absurdity of the get-up as well as properly deliver on the awesomeness that such a look would/should deliver. I guess we'll find out, when June 2018 comes around.

DEADPOOL 2's Domino Doesn't Really Look Like Domino

..uh, yeah. How does that look anything like this?


Now, I'll be honest, I actually wouldn't mind this costume if this was a different character. Redesigns are cool and all, to a point where there are some that end up being superior than the original design; but, there comes a time where its so drastic, that its almost unrecognizable from what a character was originally supposed to be. Ultimately, I'm not surprised at how this turned out. After all, the Marvel movies coming from Fox have not had a good track record for comic-accurate costumes outside of the first Deadpool and (shockingly enough) the Tim Story Fantastic Four movies.

Whatever, there's a decent chance Zazie Beetz will be good (if not great) here; but, for now, this and other reasons I'll get to in a separate post are putting me in a very skeptical position on Deadpool 2.