Hey, would you look at that? Our talented guest critic Dillon Humphrey has returned with some more of his thoughts on films, both new and old.
SPIDER-MAN HOMECOMING
So I went to see Spider-Man Homecoming not realizing it came out only yesterday. That's irrelevant though.. This movie was great and exceeded my expectations by a TON. It made all the difference in the world that Marvel didn't try to make Peter Parker act like some adult that was super mature. Because he was anything but fully mature for half the movie due to his age, so that was a great detail. Though the villain in my opinion seemed a bit... Strange for the movie. Maybe even had a lack of characterization, but it wasn't that bad. I was also super shocked by that plot twist sometime near the end! Anyway, I thought the movie was spectacular and I cannot wait for a sequel! Also, that very final post credit scene was to die for! If you ever intend to see this movie, watch it all the way through the very last text in the credits, and I promise you will not regret it!
THE INCREDIBLES
It's unbelievable how much of the plot I had forgotten since the last time I watched this movie. I was young though so I have an excuse. After rewatching it though I've come to enjoy it and like it as the great movie it is, since I'm now actually at an age where I can understand things. I sincerely hope that Incredibles 2 can be as good or maybe even better than this one, cuz I would be so happy. I'm excited for the next installment. "Honey? Where's my super suit?"
PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL
I haven't seen this since I was like 6 or 7, and so I decided to take a look back and watch the first four Pirates of the Caribbean movies before I see Dead Men Tell No Tales. Let me start by saying that the soundtrack to this movie is great. I don't normally pay attention to those, but this time was an exception because I was hooked by the two most well-known pieces of the track (in my opinion). Those would be "The Medallion Calls" and "He's a Pirate". Also, Johnny Depp does an outright amazing job playing the whacky pirate captain, Jack Sparrow. I'm glad I came back to watch this movie. Such a grand piece of my childhood had to be remembered, and at the time I wasn't old enough to remember what movies I'd watched. Hopefully I can get to the other two movies before I see the new one.
If you would like to read more of Dillon's reviews, check out his Letterboxd page by clicking here.
Well, we're already five or six days into July; so, you know what that means! Forced pseudo-best of the year lists cranked out to appease a perpetually content-starved audience. All joking aside, I've actually been a bit curious about doing one of these for quite some time. So, let's stop wasting time and get the ball rolling.
JOHN WICK: CHAPTER TWO
While it may not have the same WOW! factor that the first film had (as is the case with most sequels), that doesn't stop John Wick: Chapter 2 from firing on all cylinders in every other respect. Even though he's in his fifties, Keanu Reeves still retains the skill to assert himself as one of Hollywood's best action stars. Also, that mirror sequence still totally owns! This bit might seem shorter than the rest of these entries; but, I feel that's only appropriate. If you really think about it, these movies are less about the words being said, but rather the bullets being fired and I wouldn't have it any other way.
KONG: SKULL ISLAND
In light of the mild disappointment that greeted (and still haunts) Legendary Pictures' attempt at a new Godzilla movie back in 2014, what better way to combat a film that seemed almost ashamed of it's monster movie roots than to follow it up with an even bigger film that dives deep hogwild into the gonzo, B-movie camp that has endeared people to cinematic junk food like this for decades. Well, that and smashing it together with all those great movies about the Vietnam War. Director Jordan Vogt-Roberts managed to put together the craziest monster movie I've seen since Lord knows when.
LOGAN
Comic book pictures seemed to be driving themselves into a creative ditch lately (what with their priorities shifting from giving us memorable stories/characters to expanding the already somewhat bloated cinematic universe). Thankfully, a movie like Logan came around to prove that this genre is still finding new ways to evolve and adapt in a ever-changing world (namely by avoiding more recent superhero tropes and going back to earlier drawing boards of other beloved categories of iconic cinema). James Mangold draws from a deep and rich well of reverence for the classic Western and the film is all the better for it.
WONDER WOMAN
At this point, I'm sure what else needs to be said about Wonder Woman. Gal Gadot is ethereal and immensely charming in the title role. We finally have a good female superhero flick, as well as a picture that's finally given the DCEU some much-needed goodwill from critics and moviegoers alike. That "No Man's Land" scene is going to go down as an all-time stunner. It's only been a month since it first hit the multiplexes and it already seems to be analyzed to death. One could say that level of coverage would hurt this film (and, in a different situation, I'd be more inclined to agree); however, I think that only goes to show how great this flick is. All the world was waiting for her to finally come to the big screen and she didn't disappoint.
BABY DRIVER
I highly doubt that there's going to be a movie where the experience of watching it is as visceral, entertaining, and eclectic as auteur filmmaker Edgar Wright's latest and greatest cinematic creation. With astonishingly kinetic action and a soundtrack to end all other soundtracks, Baby Driver is one for the ages. A true-blue, stunner that I predict will age like only the finest of wines. Saying anymore would be doing it a disservice. Run out and see it if you haven't already or even if you have.
Okay, that's my list. Bare in mind, I will be doing a bigger, potentially far different, list come the end of December. Speaking of which, the months that have passed since my Top Ten of the Year list for 2016 and I've had some time to reflect. With that said, keep your eyes peeled for a piece coming very soon about the flicks I wish I included in that list (consider it a sort of alternative list for that year). Also, yes, I'm aware of how much I raved about Guardians of the Galaxy Vol. 2; don't worry, it'll probably make my end of the year list.
So, I sit here at my laptop, an hour or two after seeing Baby Driver, faced with a rather curious predicament: How do I write a coherent review for this film that isn't just me raving about all the awesomeness that's been unleashed before my eyeballs like a hyperactive ten-year-old. Granted, I'm not one to pretend that I'm some unsung genius in the already densely populated realm of online film criticism What I will say first and foremost is that this flick is an absolute must-see (both as a visionary, adrenaline-fueled cinematic experience and as a rare work of original filmmaking).
When I saw The World's End way back in the long forgotten days of 2013, I had a comforting feeling that a movie like this would come from Edgar Wright anytime soon considering how his ability to curate a soundtrack that's simultaneously eclectic, joyously obscure and uncannily relevant to the events that unfold in his flicks. As you can probably guess, Baby Driver is no exception. If anything, it takes that well-established trick of his and cranks it up to eleven. It's use of music is as intelligent as it is seamless. The way one track would blend into another kind of reminded me of how Birdman used clever editing to make it all look like one continuous shot. If there's one thing I'd say you shouldn't look too deep into, its definitely the music. Going into the film knowing little to nothing about what tracks Wright drops in here does carry a delightful sense of surprise that adds more to the overall experience.
How about the acting? Personally, Ansel Elgort is a revelation here as the musically-inclined getaway driver described so elegantly in the title. While the trailers do properly sell the coolness of his character, Elgort brings a lot of personality to the role just from his body language and an admirable amount of charming physicality. Lily James is sweet enough to effectively pull off the whole love interest schtick while also being capable enough to not be your run-of-the-mill damsel in distress. Kevin Spacey basically just plays Kevin Spacey here; but, that certainly isn't a bad thing. Jamie Foxx is gloriously sleazy and disgustingly unlikable as "Bats". Jon Hamm and Eiza Gonzales are wonderful as this film's Bonnie and Clyde (especially Jon Hamm once the third act kicks into high gear). Even minor players like Jon Bernthal, Flea and even Paul Williams are fun when they pop up throughout the 113 minute running time.
And then, there's the action. Where do I begin to talk about the action? Call me crazy if you will; but, I'd say this film is almost on par with Mad Max: Fury Road when it comes to car chase action flicks. Aside from the relief of knowing what's happening on-screen is old-school practical stuntwork, this film is also a textbook example of what is one of the best tricks that director Edgar Wright has up his sleeve: editing. The action here (as is the case with everything else here) is so well-edited, you could practically teach a class on how to masterfully edit a film for the sake of pacing and pure entertainment.
In the end, I find myself going back to a quote from Doug Walker ("It's a movie so good, I'm jealous of it."). With its memorable characters/dialogue and instantly iconic action sequences, its the kind of movie that's the reason I love the art of cinema as much as I do.
BABY DRIVER gets my brand-spanking-new rating of... ALL-TIME CLASSIC out of TEN
DO NOT MISS THIS MOVIE, FOLKS! I know there's a ton of new blockbusters flowing into the multiplexes every week or so (most of which are probably fantastic); but, it's still important support original flicks like this that aren't based off comic books or sequels, especially when they're as close to perfect as this movie is. Seriously, I cannot recommend this movie highly enough. Don't be shocked if this ends up being my favorite movie of the year. Give it a watch or two! See you all around!
Full disclosure: I first saw A Cure For Wellness a few weeks ago; however, I put off reviewing it until now because I didn't have much to say about it at that point. Now that some time has passed, I now feel comfortable giving it the Matinee Everyday treatment. On with the show!
A Cure For Wellness might be the first movie I've reviewed and liked on this blog that I'm not sure if I can recommend. It's one of the few recent movies that's been described as divisive or polarizing and actually earns that description. Those who love it tend to defend it with a fiery passion. Those who hate it loathe it as if the film came alive, murdered their pets, burned their houses down and salted the earth underneath the land they were built in. As for my thoughts, I'm leaning rather positively on this flick.
Make no mistake: this isn't to say I'm guaranteeing you'll like this movie (there's a 50/50 chance you'll despise this thing). That being the case, I would recommend anyone who's even remotely curious about this movie to go give it a try. Why? Because, quite frankly, I have my doubts that there's going anything like this in theaters any time soon (especially on such a mainstream level).
Discussion of the plot for A Cure For Wellness is a pointless undertaking both because it would spoil some of the film's sickest, most twisted twists and story isn't director Gore Verbinski's primary focal point here. What Verbinski sets out to do here is create what is essentially a extended visual moodpiece and it works for the most part. The imagery on display here is undoubtedly striking and it'd be outright criminal to deny this film a Best Production Design nomination.
You're probably asking why I'm being so skiddish about giving this film a pass or fail. Well, the answer is quite simple: A Cure For Wellness is... absolutely disgusting. While the film looks gorgeous, it sinks to the lowest low possible and somehow manages to find even deeper levels of depravity to sink to. If you don't come out of this movie feeling even remotely ill, you deserve a medal. Again, describing some of said disturbing details would make up for a great deal of spoilers; but, I'll say this: its unlikely you're going to look at eels the same way again after sitting through this flick. Even most of what I like about this film comes from the visuals and the atmosphere, the acting's also pretty solid. Dane DeHaan manages to keep his head above water amidst the vile madness and Jason Isaacs turns in some spectacularly creepy work. Also, Benjamin Wallfisch brings a brilliantly haunting yet dreamlike score to complement the insane events that play out over the film's gaudy 146 minutes.
Ultimately, while it's certainly excessive in some respects (both in content and especially the runtime), I was satisfied with what I got here. As both a work of gothic horror and auteur filmmaking, it certainly delivers some new things for those areas. It just isn't everyone's cup of tea (which is just fine by me).
A CURE FOR WELLNESS gets a modest rating of... HEY, THAT'S PRETTY GOOD out of TEN
2017 has claimed yet another legend of the screen, both small and silver. Last night, Adam West passed away at the age of 88. While not without other , West is most famous for his extended stint as Batman way back in the 1960s. His portrayal of the Caped Crusader is undoubtedly one of the most iconic depictions of that character, regardless of the unjust scorn aimed at it throughout the years for sucking the seriousness out of the darkest mainstream superhero ever. I'd even argue that the 60s show is one of the most important parts of Batman's history/mythos.
After much anticipation and scrutiny (both at the depressingly less-than-stellar status of the DCEU and the even worse reputation for female-led superhero flicks), Wonder Woman has finally hit cinemas. Thankfully, it's absolutely wonderful, pun very much intended.
Gal Gadot is an absolute gem as Diana. Those who were skeptical about her range/talent as an actress can put their potential qualms to rest. Like in her brief part in Batman v Superman, Gadot brings an equal level of ferocity and old fashioned humanity (the latter of the two I haven't seen in a cinematic superhero portrayal since Christopher Reeve donned red & blue tights way back in '78). If her smile doesn't make you feel all warm and fuzzy inside, I'm not sure if you're a real human being. Chris Pine should also get some special recognition as Steve Trevor. Pine's performance often results in some of the film's funniest moments as well as some of its most emotional. Those are obviously the two big standouts acting-wise; but, everyone else is still rather good (even if one or two roles feel a little underdeveloped).
While the tone significantly unlike Man of Steel, Wonder Woman does share two major things in common with that near masterpiece: action setpieces that set the gold standard for the entire genre and a score that improves each individual scene with its prescence. The "No Man's Land" sequence is exactly as awesome as you've heard and the final battle is an utter thing to behold. Marvel Studios may have the better track record in terms of general quality from film to film, I doubt that there's much of an argument to be made that there are some things DC does that makes them look rather inferior in comparison (mainly striking visuals and memorable music*). The score is also fantastic. Composer Rupert Gregson-Williams delivers some impressive work of his own here and his inclusion of the titular heroine's theme from BvS is as electrifying and rousing as it was in that film.
Ultimately, one of the biggest compliments I can give this film is that it understands that empowerment is a truly universal feeling that isn't restricted to race or gender (an idea that I wish the teams behind that cringeworthy Ghostbusters reboot and the almost as cringeworthy Supergirl show on the CW). Director Patty Jenkins mainly focuses on delivering an awesome superhero movie over a preposterously overblown political statement packaged as run-of-the-mill pop culture tripe. From my perspective, this doesn't "save" the DCEU (given how I don't think it needs saving); but, I hope garners some well-deserved goodwill for this franchise.
WONDER WOMAN gets a...
BADA$$ out of TEN
*I was originally going to mention the stunning action sequences there; but alas, that's an area where both companies seem to be evenly matched.
