It Came From Letterboxd (3/3/2018)

Here's some mini-reviews of a few films from the recent past and I'm trying out a new rating system for these posts just for kicks. Enjoy!

GAME NIGHT

Well then, that was quite a pleasant surprise. Game Night is easily one of the most original, clever and downright hilarious comedies I’ve seen in years. Within the first ten minutes, it has more inspired filmmaking chops that most other comedies of the past 15 years. The cast is great (Rachel McAdams and Jesse Plemons are the standouts), it never outstays it’s welcome, the jokes are mostly bulls-eyes and Cliff Martinez delivers a pulse-pounding score that juxtaposes tension on top of sheer lunacy. So, yeah, you bet I had a blast with this!  I can’t wait to see what the guys behind this do with that Flash movie.

[RATING: 4 Corvette Stingrays out of 5]

CALL ME BY YOUR NAME

You ever have one of those movies that you think is good yet it just isn’t for you? That’s basically my experience with Luca Guadagnino’s Call Me By Your Name. It’s a handsome looking production with good performances, interesting writing, excellent music and lush cinematography that creates a laid-back atmosphere that’s both welcoming and kind of maddening in how meandering it can be. It’s definitely not the most overrated Best Picture nominee this year, I’ll give it that. Well, one of the Sufjan Stevens songs is quite nice (the other one’s just....ehhhhhhhhh) and Michael Stuhlbarg’s speech at the end is quite thought provoking. Again, this movie really isn’t for me; but, I completely understand why others are enraptured by it.

[RATING: 3 Awkward Armie Hammer Dance Moves out of 5]

WHIPLASH

Egos clash like the cymbals on the protagonist’s drum set. Simmons deserved the Oscar he got for this and Teller shows that he may one day earn one himself. The way pursuing greatness completely and utterly takes hold of consumes both men is as maddening as it is compelling. Damian Chazelle pulls it off like a magic trick and, for lack of a better word, makes the whole production sing like crazy. After watching this and La La Land, I’m tempted to say he’ll end up having a place alongside gentlemen like Alan Parker when all is said and done. Whiplash is a breathless accomplishment whose sound is as bold as its vision.

[RATING: 4.5 Blood-covered Drumsticks out of 5]

MUTE

Did I watch something completely different from the flick people are currently trashing? Because, quite frankly, this is not a bad movie. At least, it’s nowhere near the unwatchable disaster that I’ve been hearing it is. Mute is pretty well directed, Clint Mansell does a nice job on the music, it has a fairly distinct visual style for the cyberpunk genre, and the acting’s rather solid (Paul Rudd and his amazing mustache are the MVPs). Granted, it does feel a bit overlong and, at times, there are moments where it feels there are two different movies at play here. Regardless, I thoroughly enjoyed this picture and I’d love to see Duncan Jones make a truly great film again.

[RATING: 3.5 Creepy Mustached Paul Rudds out of 5]

LOST RIVER

Lost River feels like a cryptic experiment more than a fully fleshed out narrative (albeit an interesting one). For someone with pretty much no experience behind the camera, Ryan Gosling assures himself as quite a decent director (even if his influences are a bit too obvious at times). Nic Refn, Andrei Tarkovsky, Terence Malick and David Lynch are the first ones that come to mind; yet, there are plenty of others I’m sure. Some of the acting choices don’t really gel, which is weird seeing how much talent he scored for this little picture. Admittingly, it does end up feeling a bit too ponderous and hollow in spots; but, it’s striking cinematography, production value and music (that Love Theme is a wonderfully abstract and hypnotic composition that almost justifies this film’s existence in my book). Not exactly a great or
possibly even good film; but, it’s an interesting journey nevertheless.

[RATING: 3 Booming Synthwave Soundtracks out of 5]

ANNIHILATION Review

How does one approach a critique of a film like Annihilation? Something that's simultaneously fairly recognizable and like something you've never seen before. Familiar yet unfamiliar. A film where discussing it is like walking a tightrope where losing balance is equated to giving away the tricks it has up its sleeve. While that task is indeed quite daunting, I shall take it on because this film is more than worthy of my attention as well as yours. The first thing I'll say is that it could be the yin to Arrival's yang, so to speak. If Denis Villeneuve expertly displayed the optimism of exploring the unknown in that film, this film does the exact opposite and dives deep into how dreary and existentially horrifying that idea really is.

If I'm going to be frank, all of the acting does feel a little off; but, full disclosure, one gets the sense that this was an intentional choice that's designed to play into the movie's atmosphere. Natalie Portman turns in some solid acting in the lead. Jennifer Jason Leigh and Tuva Novotny add depth to characters that essentially serve as exposition delivery services (the former is especially interesting, seeing how her puzzling speech pattern may suggest ). Tessa Thompson continues her recent hot streak with her work here as one of the more rational characters is such an admittedly small cast. Ultimately, Gina Rodriguez ends up being the standout in this lineup. Aside from some moments early on where she gets a little irksome, her performance is pretty remarkable. There's a moment where she absolutely loses what little sanity she was clinging onto at this point in the film and she doesn't miss a beat along the way. Honestly, if it weren't for the fact that this scene contained one of the most unsettling movie monsters in a while, I'd say she's the scariest thing in that moment.

Rob Hardy does an outstanding job with the cinematography. The imagery on display here is some of the most stunning I've seen in ages, switching back and forth from being captivating to terrifying in its esoteric beauty. Geoff Barrow and Ben Salisbury deliver some excellent compositions that thrive on their own versatility, ranging from gentle acoustic guitar medleys to droning vocal echoes to hauntingly cryptic synth notes (there's a musical motif that's been played in some of the trailers that's used quite effectively). Finally, there's Alex Garland's marvelous direction. With his credits consisting of Dredd, Sunshine, and Ex Machina, I think it's fair enough to say that he's one of the best guys currently working on intelligent science fiction pictures at the moment. Especially after seeing this, I'm dying to see what he does with a mainstream franchise property (something like Swamp Thing would be straight up his alley).



Returning to what I said earlier, Annihilation is an anomaly in how it feels completely original while remixing some touchstones of sci-fi horror cinema. There's echoes of Arrival and John Carpenter's The Thing all wrapped in a elegiacal est. It varies drastically from the original novel to a degree where discussing it solely in regards to being an adaptation would be a futile endeavor; however, what I can say here is that it capture the book's spirit almost perfectly (even if it forgoes certain details, significant or otherwise). If you have the opportunity to see this in the theater, I encourage you to take full advantage of that because is one of the best compelling genre flicks to come from a major studio in recent years. What director Alex Garland has crafted here is an adult science fiction horror picture that's not to be missed. To say anymore would almost certainly ruin a journey that's well worth taking.

ANNIHILATION gets a...
FASCINATING HEAD-TRIP out of TEN

BLACK PANTHER Review

It's easy to see why the public's been swept up in a tornado of hype over Black Panther. It's another Marvel movie with excellent marketing and big stars. Plus, its the first superhero with an African-American lead in about a decade; however, I do think that that hype does it a bit of a disservice. Don't get me wrong, this is a great film and I'm happy to see it doing well; but, its greatness is a bit overstated and doing that can make one lose sight of why the film is worth talking about it. Now, let's stop beating around the bush and get to the positives!

The cast is universally excellent. Chadwick Boseman is quite a compelling lead (proving that Civil War might not have been such a soulless slog after all). Lupita Nyong'o, Danai Gurira and Letitia Wright are all wonderful, bringing personality and depth to some of the picture's most interesting supporting characters. Then, of course, there's Michael B. Jordan, who makes for one of the best antagonists in this whole franchise has gotten. He brings pathos and nuance to a character that's a monster more out of nurture than by nature. Honestly, he gives one of the best performances in this entire enterprise, hero or not. Andy Serkis is so gleefully over-the-top that it makes me a little sad we're probably not going to get any more of him in future movies because he's an absolute riot. With their seasoned professionalism, Angela Bassett and Forest Whitaker deliver the goods as minor players in a such a grand scale adventure. Martin Freeman is also pretty good as the one outsider caught up in this web of royal intrigue and international conflict.

One of the things that caught me off-guard was just how good the story was. Granted, there are some thematic points that feel like ground covered in prior MCU ventures (especially the first Thor movie from all the way back in 2011); however, it's not what I'd call a downside to the picture. If anything, I'd go as far to say that it does those narrative beats better. Partially because there seems to be some interesting sociopolitical commentary here in regards to race relations. This is mainly seen in the character dynamics between T'Challa and Killmonger. One representing hope and progress in making peace with the sins of the past in order for future prosperity to occur while the other became the thing they despised by being unable to let those past atrocities go and vows for supremacy at any cost. That's a message that I'd say is pretty important in such a polarizing day and age (even if it may be purely sub-textual).

Politics aside, the technical acumen on display here is truly commendable. Ryan Coogler directs the whole production like an absolute champ with captivating camerawork and some of the best storytelling I've seen in a recent blockbuster. If this and his other films (seriously, if you somehow haven't seen Creed yet, fix that ASAP!) are anything to go by, this gentleman is going to go down as an all time great filmmaking talent. His use of one-takes during certain action sequences are fluid and operate on John Wick-level efficiency in delivering thrills. The standouts being an early hyperkinetic sequence in South Korea and a harrowing descent into the main Vibranium mines during the climax. The music's also pretty killer. Ludwig Goransson  continues this franchise's hot streak of interesting scores with soaring symphonies mixed in with both tribal and urban undercurrents. Heck, I even dug the original rap tracks made for the film. Major props to all involved in this picture.



Overall, while I can't say that you should buy into the hype for this picture (or any other film for that matter), Black Panther really is one of the best movies to come out of the Marvel Cinematic Universe thus far. Sure, it's one of the heavier films to come out of the MCU machine emotionally speaking; but, that's a huge part of what makes it excellent. Epic scale spectacle made with the expertise of a true master craftsman in the medium. I absolutely dug it and I get the feeling you'll feel the same. Wakanda forever!

BLACK PANTHER gets a...
BADA$$ out of TEN

It Came From Letterboxd (2/15/2018)

Look, I know I haven't been posting enough lately. So, here's something to tide you over until I get my Black Panther review out.

STALKER

Tarkovsky’s 2001. Elegiacally atmospheric arthouse filmmaking at its finest with captivating dialogue and an intriguing universe in which this cryptic tome unfolds. Rarely have I seen a film with such a distinct vision and confidence in creating a geniunely otherworldly experience. Certainly not what I’d call accessible to mainstream audiences; but, for those with the patience and will to see it through, there are plenty of unique wonders to marvel at and contemplate.
[RATING: 4 1/2 out of 5]

THE CLOVERFIELD PARADOX

Man, I really don’t get the bum rap this picture is getting. For my money, The Cloverfield Paradox is a pretty riveting B-movie. Solid acting, excellent production design, some great musical work from Bear McCreary and a fun take on some well-worn space horror territory. It’s not on the level that 10 Cloverfield Lane was operating on; but, it’s an enjoyable bit of entertainment on its own dubious merits. Check it out!
[RATING: 3 1/2 out of 5]

CAT PEOPLE

It’s interesting how this came out the same year as The Thing and White Dog (in that it mirrors both distinguishing factors about those films). For the former, it’s a remake that casts aside any notion of repeating the original in favor of being a signature work from a unique filmmaker. For the latter, it works better as a social parable more than it does as a genre piece. Even if I wish I liked this more, Cat People is still a good film with solid acting, careful direction and some interesting ideas about primal desires and humanity. Plus, that Bowie song just kills.
[RATING: 3 out of 5]

JUMANJI: WELCOME TO THE JUNGLE

Well, call this a mighty pleasant surprise! Plenty of solid action, sharp writing, and charming performances from a cast whose clearly having a blast with the material. Also, outside of the name, this is basically a stand-alone affair with no sequel-baiting whatsoever. Not bad for a nostalgia revival made by the guy who directed BAD TEACHER and was produced by Sony.
[RATING: 3 1/2 out of 5]

OCEAN'S ELEVEN (2001)

One of the all-time best examples of style being substance. Every frame has one job and each accomplishes it with ceaseless confidence: get in, get out and look good while doing it. The cast is game for anything, the music’s aces and it’s edited with only the sharpest precision. It’s about as close to perfect as movies get.
[RATING: 4 1/2 out of 5]

Jack's Favorite Movies of 2017 (Part II)

Happy New Year everybody! Here's my top ten favorite movies of 2017.

#10) STAR WARS: THE LAST JEDI

At this point, I’ll admit it’s nice that we’re back to a point where Star Wars saga has a consistent status on the year’s cinematic highlights (even if I wish I could redo my Best of 2016 list and take Rogue One down a few pegs). Still, The Last Jedi is some spectacular pop excitement. If nothing else, it feels like the first movie in this saga to actually do anything new both with the grand mythology and adding layers to the well-trodden narrative pattern.

#9) KONG: SKULL ISLAND

Vietnam War flicks and giant monster movies end up making for an expected yet rewarding pairing in Kong: Skull Island. B-movie thrills filtered through beautiful landscapes, heavily saturated colors and relentless energy. John C. Reilly adds his usual offbeat quirkiness to the non-monster spectacle moments. Also, this may be the most R-rated PG-13 film this movie fan has seen since Sam Raimi’s Drag Me to Hell.

#8) WONDER WOMAN

To say the DC Extended Universe has gotten something of a cold reception would be putting it mildly. Still, I’ve been championing this franchise ever Man of Steel came out in 2013 and its nice to see it finally has a film under its belt that’s been embraced by other film critics. It also helps that Wonder Woman is the best pure superhero picture of the year. Gal Gadot manages to be on par with Christopher Reeve in terms of being a living embodiment of the classical superhero image. The action setpieces are all great, especially the "No Man’s Land" sequence around the second act. Plenty of others have gushed over it; so, I won’t waste your time here. All the world has waited for this film for decades and they’ve been rewarded handsomely.

#7) LOGAN

Superhero movies have slowly expanded into other genres. Logan may be the most obvious example of this phenomenon. Bleak and uncompromising, Hugh Jackman’s final turn as Wolverine packs an emotional punch while being an awesome Western-noir-action hybrid. Plus, that final shot gets me every single time. What a way to go out with a bang!

#6) THE SHAPE OF WATER

Originality isn’t always what new stuff is being brought to the table; but, rather, it can be what a given filmmaker’s perspective on what’s come before. Guillermo del Toro has created plenty of marvels under this line of thinking and The Shape Of Water is the latest example of this. Excellent performances from all involved, exquisite production design, and utterly infatuated with the history of cinema, its the best example of film buff comfort food since La La Land. If you have the opportunity to see this adult fairy tale in a theater, take it!

#5) LOGAN LUCKY

Steven Soderbergh basically perfected the art of the heist flick with Ocean’s Eleven and the two sequels that followed. So, it's nice to see him return to the genre and remind us of his master of the craft with Logan Lucky. It manages to remain light and breezy while still having a beating heart that salutes its lower-class protagonists instead of mocking them. Southern-fried and electrified entertainment that you all should’ve seen during its initial theatrical run.

#4) JOHN WICK CHAPTER 2

To label this the Empire Strikes Back of action sequels would be hasty and kind of trite; however, it’s the only way I can describe this movie. Chapter 2 expands upon the already extensive universe of the first movie while simply being one of the best action movies of the entire decade. That Mirror Hall sequence alone is an all-time stunner. Plus, Keanu's still got it and continues to prove himself as one of the best living men of action. Bring on Chapter 3 pronto!

#3) GUARDIANS OF THE GALAXY VOL. 2

For as much as I enjoy them, I can’t say in honesty that the Marvel movies have had any sort of deep emotional impact...this is until these movies came along. A soaring sci-fi comedy that delivers gingerly deals with themes of what family really means and coping with past traumas.  I’d also argue this and my next choice on this are textbook examples of how to use a soundtrack in the most effective way possible. Using pop tunes like Brandy and Father and Son as dramatic through lines was a stroke of sly genius. James Gunn has knocked it out of the park yet again.

#2) BABY DRIVER

I've been rooting for this picture since it was announced. So, seeing it this high on my year-end best list shouldn't be that much of a shock. Much like it’s acclaimed soundtrack, Baby Driver moves to a rhythm that’s all its own. A perfect symbiosis of sound and vision. A daring feat of audiovisual harmony. The more I think about it, the more that I’m tempted to call this Edgar Wright’s masterpiece.

Before I get to number one, I would like to list a few honorable mentions...

• Coco
• Brigsby Bear
• War For The Planet of the Apes
• Murder on the Orient Express
• Free Fire

#1) BLADE RUNNER 2049

As is the case with many cinematic classics, making a sequel to Blade Runner is just a bad idea no matter how you slice it. It didn’t leave any room for a sequel and there’s no way a hypothetical follow-up would never be able to be even half as good. And yet, here we are. This is the first time I've felt like a film has truly blown me away since Interstellar came out about three years ago. Not only is Blade Runner 2049 on par with its predecessor, it's an accomplishment in cinematic artistry in its own regard. Denis Villeneuve continues to prove himself as one of the most captivating, intellectual filmmakers of the moment. Roger Deakins constructs each image in a painterly fashion. Seriously, if he doesn’t win that Best Cinematography at the this year’s Oscars, the Academy Awards will be officially worthless. Words still fail to describe what the assembled cast and crew have achieved here. Come twenty or thirty years from now, I’m getting the feeling we’re going to be talking about this the same way we do now about the original. Hats off to every individual who poured their heart and soul into making such a masterwork. I shall be forever thankful.

And, that's this year's list. Agree? Disagree? Be sure to let me know in the comments below. Oh, and for anyone expecting a full piece about this year's celluloid detritus, you'll be sorely disappointed. I find Worst of the Year lists to be a waste of my time as well as yours. Why should I go on about the stuff I hated when I could be using that time to be celebrating the stuff I love? There's some food for thought. Have a happy new year!

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