SOLO: A STAR WARS STORY Review

Going into Solo with an aura of skepticism isn't entirely unsurprising, considering its troubled production history and the common symptoms that plague prequels of any and all stripes. Honestly, I went into this expecting something like Ant-Man where the movie itself escapes all the production controversy relatively unscathed and comes out as a relatively solid flick. What I didn't expect was for this to be my favorite thing to hit the multiplexes with the Star Wars brand slapped on it since The Force Awakens back in 2015.

Going back to the Ant-Man comparison for a brief moment, this is another instance where many people would've loved to who have seen the original's directorial vision for this picture (myself included); however, I do find the fact that Disney/Lucasfilm made an inspired move by choosing journeyman filmmaker Ron Howard (mainly because he's probably the closest thing to what George Lucas might've been as an artist had he not decided to continue being active behind the camera, so to speak). It never overstays it's welcome, it keeps a brisk, steady pace and it knows when to balance out serious. All of the action sequences are gangbusters (the famous Kessel Run in particular is a rather tense smash-and-grab that perfectly justifies why someone like Han would become infamous). John Powell should also get credit for his excellent score. Granted, it does use the standard John Williams themes that everyone and their mothers know by heart; but, it doesn't rely on them and has plenty of unique energy in it's own right. Appropriately for the character and story, it's as rousing and swashbuckling as the film itself in many respects.

Of course, note should be made of the cast. Alden Ehrenreich turned out to be quite a charming choice as the young Han Solo, never trying too hard by trying to copy Harrison Ford's iconic work and carving out his own niche while also embodying the character's sarcastic confidence that made him such an icon to begin with. Emilia Clarke is charming as one of Han's old flames. Woody Harrelson has brings some more nuance than one would expect as Han's mentor. Even Paul Bettany's antagonist gets a moment or two to shine. Anyone hyped for Donald Glover's portrayal of a young Lando Calrissian is going to walk away a bit underwhelmed. His role here is basically a glorified cameo. Still, Glover is a ton of fun in the few scenes he does get (the scenes where he and Han play poker in particular are an absolute hoot).

If there's one thing I can this has in its favor over something like Rogue One (above everything else that makes this better than that pile of aggressive mediocrity), its that its clear this GETS Star Wars far better than . Some will accuse this of feeling like über expensive fan fiction like Rogue One; but, this doesn't feel as cynical or boring as that film did. If that film made the same mistake as the fandom's more pathetic members in grotesquely inflating the franchise into something grander than it actually is, this new one is perfectly in tune with why audiences fell in love with the galaxy far, far away in the first place: they're just fun space adventures with likable characters and a hearty sense of gusto. Plus, it doesn't try answer many of the sacred mysteries about this universe that are best left unanswered. Is it better than The Last Jedi? Probably not because TLJ takes some more risks and tries to be something more than fun popcorn entertainment. Then again, I'd be being disingenuous if I didn't say I had an absolute blast with this.

SOLO: A STAR WARS STORY gets a...
EXPERTLY DONE KESSEL RUN out of TEN

DEADPOOL 2 Review

Well then, this review turned out to be harder to write than I initially anticipate. Not in the way that something Blade Runner 2049 where I'm in such awe of the spectacle I just witnessed that I can't properly convey how I felt about the film; but rather because I'm somewhat baffled by what I just sat through last night. Make no mistake, Deadpool 2 is a pretty solid comic book flick and does many things a lot better than the original. Yet, despite all of that, I still left the theater in a strange mood where I'm not disappointed while also feeling like there could've been more here.

Now then, let's focus on the positives because there is certainly a lot to like here. First off, David Leitch is definitely a better director than Tim Miller was (seeing how this film has better action and is far more visually dynamic). Ryan Reynolds still gives his maximum effort and shows really no one else could've done Deadpool as a character better than himself. Josh Brolin is even better here as Cable than he was as Thanos in Infinity War. The good cop/bad cop relationship he has with the titular Merc with a Mouth near the end is a nice touch that brought to mind the likes of Lethal Weapon and especially 48 HRs. Zazie Beets was a welcome surprise as Domino. She's cool, capable and even gets a few good one-liners in between all the chaos Even if the jokes here a lot more hit-and-miss than the first one, there are still a few that make the whole enterprise worth the price of admission. The soundtrack here is pretty killer. Even all the stuff with the X-Force business takes a few unexpected turns that I won't dare to spoil here. There are a couple gags that have been recycled from the first one; but, they're kept to a minimum and the ones they do bring back mostly land on their feet (one in particular outdid the original to where everyone at my screening was in stitches for a solid five minutes).

As for the negatives, there aren't enough to bring the party down so to speak; but, they are still worth talking about. Without a doubt, I can say the film's only major problem is inconsistency. Some jokes feel out of place, the tone is all over the map in any given scene, and it does feel a bit like a thrown together mashup of comic book goofiness. While I do admire the filmmaker's attempts at making Deadpool more of a flesh-and-blood character instead of a one-note joke, I'd be lying if I said they were entirely successful. Still, enough of that stuff works to where you feel like you're getting more out of this than some fun wordplay and gunplay.



Deadpool 2 may be kind of clunky at times and doesn't quite achieve some of its loftier ambitions. Nevertheless, none of its shortcomings keep it from being one of the more subversive and wildly entertaining films in the superhero genre. If the superhero gravy train keeps on going from here on out, here's hoping we keep getting more like this to spice things up a little. Plus, any movie that opens on a snarky dude in red tights murders criminals with a chainsaw while Dolly Parton plays in the background is going to be worth seeing one way or another.

DEADPOOL 2 gets an...
STRANGELY EMOTIONAL A-HA REMIX out of TEN

PS. In case you don't know this for some bizarre reason, stay through the credits. I know it's become habitual for audiences to stay through the credits of superhero movies; but, seriously, they pulled out all the stops this time and delivered what might be an all-timer. Don't let anyone ruin it for you.

AVENGERS: INFINITY WAR Spoiler-Free Review

NOTE: I had a lot of thoughts on this flick. So, I'm going to do a traditional review here and follow it up with a loose, spoiler-filled discussion some time not too long from now. Let's get crackin'.


I have a quick confession to make. Yesterday, I saw Infinity War at around noon and I've waited to start typing my review until the day after for a myriad of reasons. For starters, I've been burned on the Avengers films before. The first one is fine and I'll give it credit for it's importance in blockbuster history; however, I do feel like hailing it as some sort of masterpiece is silly. Age of Ultron ended up amplifying everything that worked and didn't work in it's predecessor, leading to a film that I still can't entirely say I'm for or against. Naturally, I wanted some time to ruminate on the film to give an honest opinion divorced from waves upon waves of hype. Then comes the challenge of finding a way to provide an articulate critique of the film without giving away the major surprises it has in store. Thankfully, I've been able to overcome both and can say that this film rocks!

Speaking of surprises, I was delighted to see that The Russo Brothers nailed it with this film. Sure, Winter Soldier was great; but, I'll still be in the minority of people who think that Civil War a complete letdown. Thankfully, they seemed to have made an anti-Civil War here. Instead of a soulless machine that ends up having zero consequences on the overall story and actively avoids taking risks, we get the exact opposite here. From the first ten minutes, they establish that there isn't a punch they're willing to pull. Anything that can happen pretty much does happen. I'd also like to give the Russos credit for doing a decent job of balancing the focus on the various players. The transitions back and forth between the Earthbound heroes and the more cosmic territories are admittedly a very impressive juggling act (even if it feels a little clunky at times). On the subject of subverting typical Marvel problems, composer extraordinaire Alan Silvestri returns with an appropriately epic score (a perfect sound to match such wondrous visions). Triumphant themes are used to their fullest potential and I was elated to see that a film with such a grim ending opted for the opposite of what we usually get with these movies. Instead of an end credits sequence with pounding melodies and tons of eye candy, we get slow, simple credits with a subdued, quiet rendition of the main themes (allowing an appropriate amount of breathing room from the epic tragedy that just wrapped up).

The cast isn't really worth discussing, seeing how familiar we are with all the major characters as well as the actors and how they each get enough time in the spotlight for maximum satisfaction. Besides, the big question on all of our minds is how well Josh Brolin does as Thanos. Rest assured, he's pretty great. Granted, his motivation from the comics has been heavily altered from the comics; but, I think the changes that were made were for the better and what's here fits better with the thematic core of the Marvel Cinematic Universe. Anyone familiar with Watchmen (be it the original graphic novel or the film adaptation) is going to be picking up very familiar signals here with Thanos. Again, I really can't delve into that too much without spoiling things; but, suffice it to say, our antagonist gets enough pathos to make him more than some big purple guy with a dictator complex.



Ever since it came out back in 1980, The Empire Strikes Back has been the go-to comparison for darker, narrative-rich sequels and (in my humble opinion, at least) has been grotesquely misapplied. You've been hearing it from everyone else and I'll be no exception. Comparisons to Empire fit it like a glove. We all know there's a another chapter coming that'll probably serve as a light at the end of the tunnel, so to speak; however, I say we should take a moment to appreciate the grand-scale tragedy that's unfolding into multiplexes on the unsuspecting masses. Sure, it's still a great time at the movies and has a few moments to make audiences chuckle; but, that doesn't detract from stakes that feel genuine and emotional beats that are well-earned. Overall, I'd say that Infinity War and it's upcoming sequel are probably going to be the superhero genre's equivalent to the Kill Bill saga (in that part one is almost pure action and part two slows down for richer character/narrative beats). If that ends up being the case, the wait until next summer is going to be absolute torture because what we have here may be the comic book movie to end all comic book movies. How they'll follow this up is anyone's guess.

AVENGERS: INFINITY WAR gets a...
CATACLYSMIC AWESOMENESS out of TEN

Review Round-Up #2

Before we continue, I'd like to acknowledge and the death of legendary journeyman filmmaker Milos Forman (the man who made classics such as Amadeus and One Flew Over the Cuckoo's Nest). He was an important artistic voice and it felt inappropriate to say nothing about losing him. May he rest in peace. Anyway, on with the show...

A QUIET PLACE

A Quiet Place earns a snug spot alongside 10 Cloverfield Lane when it comes to great cinematic bottle episodes. Even if it's only his second feature as a director, Krasinski comes out swinging like a champ both in front of and behind the camera. At times, the pacing is inconsistent and the jump scares are hit-and-miss. Aside from making the case for how a PG-13 rating doesn't indicate a horror film's quality, it wrings some genuinely nerve-wracking moments with it's intelligent use of sound and is definitely worth seeing in a crowded theater.
[RATING: 4 Malfunctioning Hearing Aids out of 5]

EVERYBODY WANTS SOME!!

Entertaining humanization of dudebro characters some would argue aren’t worth the effort to humanize. The young cast is incredibly charming (one of the guys is a dead ringer for a young Laurence Fishburne) and it’s lackadaisical, carefree vibes are hard to resist. Still debating whether or not I’d say this is better than Dazed and Confused; but, it’s definitely a worthy successor to that picture rather a pale imitation in a new coat of paint.
[RATING: 4 Beer Kegs out of 5]

THE DARK TOWER

What should have been a sprawling epic with every resource available put behind it (a la HBO's Game of Thrones) has been butchered and mangled into a 90-minute cluster of mediocrity. It’s not without a few positives. Some of the out-there concepts from Stephen King’s novels haven’t been lost in translation, the action sequences are fairly well done, and Idris Elba works as Roland (even if making his character arc second to Jake is bizarrely miscalculated). Still, a lot of those positives are undone by editing via meat cleaver, thinly sketched imitations of the rich characters from the novel and a miscast Matthew McConaughey who jerks back and forth from stilted to puzzlingly unnatural. By no means is it a disaster; but, it sure is a disappointment. One that quickly extinguishes its few flashes of potential.
[RATING: 2.5 Awesome Gunplay Scenes out of 5]

CAT PEOPLE (1942)

Perhaps the strongest example of atmospheric filmmaking from the Golden Age of horror cinema that didn’t have the names James Whale or Tod Browning attached to them. The black-and-white cinematography is immaculate and it has a lot more on its mind than some of it’s contemporaries did. If you’re interested in checking out classic cinema outside of the icons everybody is well aware of, this would be a good place to start.
[RATING: 3.5 Creepy Alleyways out of 5]

POINT BLANK

Crime cinema boiled down to its basic elements before Walter Hill perfected the art come the turn of the next decade. A high point in filmic storytelling of the 1960s and one of the all-time great tough guy movies. There isn’t a moment wasted and even the more laidback moments have their charm. Lee Marvin is at peak badassery here, taking names from scum bags and looking cool while doing it. It all looks like a million bucks and it has the cocksure, masculine swagger only a John Boorman picture can offer.
[RATING: 4 Angry Lee Marvins out of 5]

FRIDAY THE 13th (1980)

Early 80s slasher fare is proof that influence on a genre doesn’t equate to what can genuinely be called a “classic”. It does have a tendency to wander off on boring tangents when nothing is on its mind (which is admittedly pretty often) and the screenplay feels like it was scribbled onto a cocktail napkin. A few moments here & there provide atmospheric scares, Tom Savini’s gore effects are as awesome as usual, and Betsy Palmer does really well as the movie’s secret weapon. Certainly not the best picture in the franchise; but, a decent foot to start out on. Also, Kevin Bacon's in this flick. So, that’s a plus.
[RATING: 3 Dead Kevin Bacons out of 5]

DAVE MADE A MAZE

A strange creature whose quirky, handcrafted charms more than make up for its amateurish faults. The style and atmosphere is completely unique (the cardboard aesthetic makes the proceedings look recognizably cheap and delightfully off-kilter). Usually, this phrase is used as an insult; but, in this case, I use it as high praise. Dave Made A Maze feels like a teenage fan-film and I mean that as a compliment. It’s all made with the youthful energy of something you might’ve shot in your basement with a few buddies at the age of 15. Honestly, I can’t think of a single moment during this where I didn’t have a pleasant little smile on my face.
[RATING: 4 Giant Cardboard Forts out of 5]

Review Round-Up #1

Hey everybody! In case you missed that update I made last weekend, I'm rebranding these little mini-review compilations under a different banner and a wackier rating system. With that out of the way, let's talk about some movies.

INHERENT VICE

A while back, I was talking to a friend about Shane Black’s The Nice Guys. I described it as basically The Long Goodbye crossed with Boogie Nights. Looking back on that, that description feels more apropos for this film than it did for that film. A leisurely stroll through the sleazy, sun-drenched haze of early-70s California with memorable characters and a good central mystery underlining all the madness. Also, Shasta Fay may be the most white-trash name ever and I love that so much.
[RATING: 4.5 out of 5]

LOVE, SIMON

I didn’t have any high or low expectations for this picture; but, coming out of it (pun not intended), I have to say that this was absolutely wonderful. Nick Robinson is a charming lead, it has an eclectic soundtrack, the feel/tone is comfortably naturalistic and there’s a sense of honesty to the film that other high school films lack. Even if you aren’t in the target audience, Love Simon is a likable little love story that hits close to home on a universal level and will probably end up being a personal favorite amongst a few peers of mine.
[RATING: 4 Edgy Teenage Misfits out of 5]

MURDER ON THE ORIENT EXPRESS (2017)

Ridiculous mustache and perplexing Imagine Dragons-scored trailers aside, this is a cracking good old-school murder mystery of the variety that flourished in classic Hollywood. The cast does stellar work (even if director/star Kenneth Branagh does get a little too much screen time), the camerawork here is extremely interesting and creative for a movie that takes place in such a tight location, the score is pretty good and it’s got a charming sense of wit that keeps the proceedings from being too dry. Definitely a pleasant surprise and I defy you to find a film this year that has a better final shot than this one.
[RATING 4 Double Mustaches out of 5]

THE TERMINAL MAN

The Terminal Man is like a 50s B-movie/Twilight Zone elevator pitch filtered the speculative lens of 70s science fiction. It’s got a cool poster, George Segal gives a decent performance, and that’s about it. I guess it wouldn’t hurt to put this on in a lazy afternoon; but, it feels like the kind of thing that should be playing in the background of a Joe Dante picture. Micheal Crichton’s original novel has to better than this, right?
[RATING: 2.5 Strange Mind-Control Devices out of 5]

SPRING BREAKERS

Can’t say I groove on this particular wavelength; but, after half a decade since it’s original release, it still works as a total time capsule of the moment it was made in. The sights, sounds and smells of the quintessential spring break experience distilled in Dadaist sensory overload. James Franco gives one of his best performances as Alien, one of independent cinema’s most memorable characters in ages. While I’m still bitter that I’m technically part of this generation, I can’t help but be fascinated by it. Joins the ranks of Trainspotting and Fear & Loathing In Las Vegas as sleaze epics that double as chemical flashbacks of their respective eras.
[RATING: 3 Tatooed James Francos out of 5]

NIGHT SHIFT

Urban hustle ‘n bustle juxtaposed against allegedly real-life hijinx. It’s interesting to see Henry Winkler play against type as a sad sack loser with zero confidence and young Michael Keaton is an absolute force of nature here. Plus, the fact that journeyman filmmaker extraordinaire Ron Howard cut his teeth on something this morbid and insane is hilarious on its own merits.
[RATING: 4 Obnoxious Boomboxes out of 5]

MOON

Aside of from being one of the most realistic science fiction films I’ve ever seen, Moon is a fantastic directorial debut from Duncan Jones. Sam Rockwell turns in one of his best performances. It’s visually stunning for a movie that only cost $5 million and tackles some heady themes that I can’t delve into too deeply for fear of spoilers. There’s a possibility that this may have been the genesis for the modern sci-fi renaissance as we know it.
[RATING: 4.5 out of 5]

HOBO WITH A SHOTGUN

Shameless grindhouse thrills, relentlessly reveling in its own and refusing to apologize for its filthy nature. Rutger Hauer looks like he’s having a ball, the action’s gory and over-the-top, it has a heavily-saturated color palette that’s both repulsive and appealing & it’s just a blast to watch. Flawed and a tad bit too tasteless in spots (there’s one moment involving a school bus that feels like the director saw the ice cream truck scene from Assault on Precinct 13 and said “Oh yeah?!? I can top that!”); but, I got a kick out of it. Random observation: two of the main bad guys look like what if Andy Samberg decided to start cosplaying as Baby Driver.
[RATING: 3 Rampaging Vigilantes out of 5]

MOM AND DAD

Imagine what if you crossed Home Alone and The Strangers with that one scene in Kingsman where literally everyone is trying to murder each other. The world would be a much better place if Nic Cage starred in more movies like this. Because, he looks he’s having more fun in this than he’s had in any other movie he’s been in recent years. Selma Blair’s also a blast to watch in this. It has an interesting soundtrack and it’s stitched together in exactly a manner you’d think a movie like this would be from one of the guys who made the Crank movies. At times, when it’s not being pedantic, Mom and Dad is a masterpiece of trash cinema.
[RATING: 3 Broken Billiards Tables out of 5]

READY PLAYER ONE Review

First and foremost, let me just say that the amount of pre-release cycle of hatred for this picture has been absolutely ludicrous. The amount of snark and contempt tossed at this whole production is something I've found puzzling, headache-inducing and ultimately tiring. Seriously, has the world deteriorated to a point where we're all so jaded towards to pretty much anything (even something that's an obvious shoo-in such as a new Spielberg joint)? I understand why people are cynical towards the original source material. Even though I can't say it doesn't have its fair share of problems, I can say the novel by Ernest Cline (AKA the literary world's answer to JJ Abrams) is a fun read and had plenty of awesome potential for cinematic spectacle. Plus, this wouldn't be the first time the Wizard of Whimsy made a movie that vastly improved on what its based on. Need I remind you all of how Jaws and Jurassic Park were novels of questionable quality before they became icons of cinema?

Now, with all that complaining and preamble out of the way, comes the question of whether or not the film in question is deserving of hatred. Well, the answer is....not at all. Ready Player One is a ridiculously entertaining ride that immensely improves on the novel and may end up being a sci-fi classic one day. It has a lot of fantastic action scenes, the visual design is absolutely splendid and the references don't feel like they're getting in the way of telling a good story with good characters. Zak Penn and Ernest Cline's witty screenplay serves as a sturdy foundation for the fantastical theatrics (even if a few lines here and there sound a bit cringeworthy).

Tye Sheridan brings a certain sense of likability to Parzival that was sorely lacking in the original novel. Yeah, he's a fairly standard, wide-eyed Spielberg protagonist; but, he's decently written and charming enough to where that doesn't really matter. Olivia Cooke's Art3mis subverts expectations by being a female character with a palpable sense of urgency while having a sweet personality to boot. Ben Mendelsohn is marvelous as the film's dastardly CEO antagonist (even I'd say his character isn't nearly as interesting as the company he runs). I was pleasantly surprised by how effective IOI is as a looming threat. Simon Pegg sadly gets little to do in the film; but, he's still Simon Pegg in a nerdy adventure such as this. That's always a bonus in my book. Ultimately, Mark Rylance ends up giving the best performance in the picture as OASIS co-creator James Halliday. Far from the tech wizard the masses hype him up to be, Rylance portrays the character as a sort-of rockstar reinvention of Elon Musk with subtle gracenotes suggesting he falls on the high-functioning end of the spectrum. Where they take his character struck a personal chord with me that I found quite poignant (seeing how I may be too into the novelties this film wears like badges of honor).

Alan Silvestri's score is an emotional roller coaster, appropriately accompanying the film's dramatic peaks and valleys with seasoned precision. It's easily some of his best work since the first Avengers film back in 2012. Every action sequence is packed to the gills with top-notch thrills. Sure, it's chaotic; but, Spielberg is a filmmaker with a level of maturity to keep said havoc easy to follow and fluid. Much like how I'm keeping my mouth shut on all the pop-culture cameos that run rampant through the film's background, I find that I'd fail my readership if I were to spoil what the film has to say. Suffice it say, I highly recommend that you all go see this on the biggest screen possible because this is pure spectacle in the truest meaning of the word. Fitting for a film mostly set in a nearly infinite virtual void, Ready Player One feels massive and sprawling in the Oasis and cold yet familiar in futuristic Columbus, Ohio.



Lately, critics have been praising Spielberg's more grounded and realistic films moreso than what made him a household name. While I agree that he's been on a winning streak for adult dramas, let's not forget how this and The Adventures of Tintin are near-perfect reminders of how he's the best in the entire business at delivering top-of-the-line popcorn entertainment. He's essentially treating this film as his personal sandbox and I sure like the way he plays. Not only does it supply a good time at the cinema, it celebrates how awesome geek culture is while acknowledging that it has a place in life that shouldn't extend to consuming your life. I absolutely dug it and I'm sure you all will too, even if you haven't the foggiest idea what Buckaroo Banzai is.

READY PLAYER ONE gets an...
AWESOME EXPLOSIVE BLAST out of TEN

State of Matinee Everyday and Other Affairs

Ladies and gentlemen, there are a few announcements I have to make. Nothing Earth-shattering; but, notable enough to warrant a whole blog post. The most prescient of these would be that this site will no longer be the sole source of my content. I've recently become a contributor at Comic Fade. If you're interested, my first article can be found here: https://comicfade.com/2018/03/26/80s-week-the-5-best-80s-horror-films/

Granted, you'll still see reviews, and trailer discussions up on this blog. I promise you that this doesn't spell doomsday for Matinee Everyday. Moving on, future reposts of my Letterboxd reviews will go under the title of "Review Round-Up" instead of "It Came From Letterboxd". I've found that this title conveys what's inside more effectively and more newcomer friendly so to speak. Short, sweet and to the point! Speaking of which, I've got a new post coming up after the Ready Player One review is published on Friday. Yes, you heard that right. Seeing how I had some spare time on my hands, I decided to attend an early screening of the film in order to have my review up as soon as possible. Per tradition, there won't be any spoilers.

Finally, I'll be starting up a podcast with a few friends called Can You Dig It? once summertime rolls around. It'll involve discussions about pop culture among other topics. Get hyped or be afraid. The choice is yours when all is said and done.

That's all for now. Fly casual, dear readers!